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Magazine

Volume 4, Number 3 March/April 2000

Kenny
Smith
Roland White
Stephen Bennett
Bull Harmon
Foley Guitars
CONTENTS
Flatpicking FEATURES
Kenny Smith 4
Flatpick Profile: Stephen Bennett 18
Guitar Jam Tunes: Beaumont Rag
Foley Guitars
36
38
Masters of Rhythm Guitar: Roland White 50
Magazine Guitar Highlight: Merrill C-28 76

Volume 4, Number 3
COLUMNS
March/April 2000 Norwegian Wood 12
Craig Vance
Published bi-monthly by:
High View Publications Beginners Page: Perfect Pitch 14
P.O. Box 2160 Dan Huckabee
Pulaski, VA 24301 Flatpicking Rhythm: Rodney Dillard 15
Joe Carr
Phone: (540) 980-0338 Flatpicking & Folk/Acoustic Rock 24
Fax: (540) 980-0557
Orders: (800) 413-8296 John Tindel
E-mail: highview@flatpick.com Kaufmans Corner: Jesse Polka 28
Web Site: http://www.flatpick.com Steve Kaufman
ISSN: 1089-9855 Nashville Flat Top: Lonesome Pie 32
Brad Davis
Dan Miller - Publisher and Editor
Mariann Miller - Sales and Advertising Break Time: Lonesome Road Blues 34
Connie Miller - Administration Chris Jones
Contributing Editors: The O-Zone: Shenadoah Falls 41
Dave McCarty Orrin Star
Bryan Kimsey Cajun Flatpicking: Jole Blonde 43
Cover Scan - Jason Hungate
Dix Bruce
Subscription Rate ($US): Music Theory: Mastering the Fingerboard 46
US $22.00 Mike Maddux
Canada/Mexico $30.00 Gospel Guitar: Blessed Assurance 53
Other Foreign $37.00 Harold Streeter
All contents Copyright 2000 by Flatpicking Fiddle Tunes: Madam Bonaparte 59
High View Publications unless Adam Granger
otherwise indicated Exploring Bluegrass Guitar: Yellow Rose of Texas 61
Reproduction of material appearing in Steve Pottier
the Flatpicking Guitar Magazine is for- Eclectic Acoustic: Maids of Castlebar 63
bidden without written permission
John McGann
Printed in the USA

DEPARTMENTS
New Release Highlight: Bull Harman 67
Reviews 70

Cover Photo by Lyn Adkins


1
Flatpicking Guitar Magazine March/April 2000
EDITOR'S
PAGE
Kenny Smith Issue

We are proud to have Kenny Smith, two time IBMA Guitar Player of the
Year, on the cover of this issue. The Kenny Smith cover is timely for a few
other reasons. AcuTab Publications recently released a great transcription
book with transcriptions from Kennys solo project Studebaker, and the
two Lonesome River Band CDs Kenny has played on. Additionally, Kenny
and Tim Stafford played on a new Rebel recording called Knee Deep In
Bluegrass. This record features almost all of the musicians who have been
the subject of AcuTab transcription books in the past. That project is due
out in May. The tab we feature in this issue, Angeline the Baker, was
transcribed from that project.

Audio CD

I want to thank everyone who has sent in their comments and suggestions
regarding the audio CD that we are now presenting as a companion to
each issue of the magazine. With this issue, our fourth with an audio
companion, we finally worked out the mail service bugs and are shipping
the CD packaged along with the magazine. Those who subscribe to the
audio CD probably noticed the improvements in packaging that we were
able to make with the last issue. We will continue to try and improve
the quality of this product. Reader response and support is what makes
it possible. Thanks everyone!

New Columns

Since we started publishing this magazine, we have always received many


helpful comments and suggestions from readers regarding the content. We
have tried our best to change and adapt to suit the suggestions of the readers.
With the addition of the Gospel Guitar column in the last issue, we have
had to increase the number of pages in the magazine (it used to be 76, now
it is 80) and we still cannot fit everything in that we would like to fit in.
In the last issue John Tindel sat out due to scheduling. In this issue Frank
Ford is sitting out due to lack of space. For those of you who are fans of his
column, he will be back next time.
We are also trying to rotate a few other new columns in to the mix in the
near future, most notably a Gypsy Jazz column. Keep those comments
and suggestions coming!

2 Flatpicking Guitar Magazine March/April 2000


3
Flatpicking Guitar Magazine March/April 2000
Kenny Smith
Photo: Patty Lindley

Taking Flatpicking Into The 21st Century


Kenny Smith certainly enjoyed the last by David McCarty new horizons on the instrument by refusing
year of the 1900s, and it had nothing to to be limited to playing guitar within the
do with the fact that the much-vaunted as one of the flatpicking guitarists who confines of traditional position playing.
Y2K bug failed to bring computerized will redefine his instrument in the coming Instead, hes taking concepts from many
civilization to its knees. 1999 saw the years, AcuTab Publications released the other guitar sources to create a fresh,
32-year-old Indiana native win his second first volume of transcriptions of Kennys innovative new approach to flatpicking
straight Guitarist of the Year award from ground breaking solos from the LRB and that is as revolutionary in its own way as
the International Bluegrass Music Associa- his brilliant 1997 solo release, Studebaker. the work of earlier flatpicking pioneers
tion. His band, the Lonesome River Band, And he moved into a new home he and such as Clarence White and Tony Rice.
continued its streak as one of the hottest, his talented wife, Amanda, are renting in A student of everything from the rock
most influential groups in bluegrass and the tiny mountain burg of Vesta, Virginia. guitar stylings of Eddie Van Halen to the
theyve just finished a new album which In the basement, Kenny has a workshop brilliant fingerstyle work of guitarists like
Kenny says is his favorite album with the where he does guitar repair and other Jerry Reed and Merle Travis, Kennys
bluegrass supergroup. Kenny and his wife woodworking projects. trademark sound is built around a fluid style
Amanda started work on a joint gospel But the most important project hes had in incorporating frequent open notes even
project, and hes planning to record a recent years has been his own guitar play- when hes playing licks in the fingerboards
follow-up to his outstanding debut album, ing. Always a restless, inventive creator on upper registers. The result is a technical
Studebaker. Reflecting his growing stature guitar, Kenny Smith has opened amazing and musical breakthrough allowing Kenny
4 Flatpicking Guitar Magazine March/April 2000
to utilize the instruments entire tonal of those things that was neat on acoustic sibilities in his flatpicking other bluegrass-
range at any given moment. Its a sound guitar, and it was different for me. oriented flatpickers hadnt considered.
never before heard in flatpicking; one that By the time he was in high school, But once high school was over, Kennys
will influence guitarists far into the next Kennys love affair with guitar drew him experimentation with electric guitar faded
millennium. to almost any sort of guitar-oriented music as quickly as it had materialized. He moved
Born far from the hotbed of bluegrass he could find. Since there wasnt much south, far from the Midwests hard winters
in Ft. Wayne, Indiana on Sept. 19, 1967, bluegrass in northeastern Indiana, he and barren musical fields, to live with his
Kenny heard music played around his gravitated to rock guitar as an outlet where grandmother in Tennessee. To earn a living,
house right from the start. Both his dad and he could play guitar with friends and earn he worked on his aunts chicken farm
grandfather played fiddle, and in addition a little money playing gigs. Basically the and later took a factory job. Immediately,
to playing with many local groups Kennys rock scene was an outlet for guitar. A friend though, he discovered a circuit of guitar
dad made sure his family got to travel to had some Van Halen albums, and I got into contests to enter and a wealth of bluegrass
local festivals and hear bluegrass music live that more as a challenge than anything. I players eager to jam with the obviously
whenever possible. Kennys introduction to played that all through high school, Kenny talented flatpicker. One of those players was
guitar now seems preordained. We had a said. It did help me in playing without Ricky Rorex, a mandolinist who would
guitar around house. My dad had built it for a capo; that opened me up, especially in go on to win the mandolin championship
a cousin and had that in a closet, Kenny playing up the neck. at Winfield. Rorex introduced Kenny to
recalled. He told us never to bother it, but Kenny says Eddie Van Halens approach some of the most influential acoustic music
of course I would go in and try to strum it. to playing melodically over the entire neck of the 20th century - the debut album by
Dad came home early one day and caught (rather than the rock guitar norm of playing the David Grisman Quintet. We worked
me playing it. Rather than whipping me, box or pattern licks in one position) a lot of that stuff up, he explained. It was
he taught me G, C, and D chord. He came greatly influenced his acoustic guitar play- exciting new music. Id never tried to mess
home the next day, and I had those chords ing as he went back into bluegrass. In high with anything like it. At first, I couldnt
down. So I got a guitar that Christmas, school, he also took the time to study a figure out what was going on, but I loved
when I was four. I still remember taking little classical guitar using a couple of the tunes on it.
my guitar in for kindergarten and playing guitar instruction books from the library. By the early 1990s, Kenny had become a
for the kids in my class. Again, the classical approach to developing regular on the fiercely competitive contest
By the age of seven, one of his dads band melodic lines encompassing open strings circuit, and began to make his mark as
members taught Kenny to play Cripple over the entire guitar fingerboard helped a player. At Winfield, he walked in and
Creek, urging him to make use of his little greatly expand Kennys technical under- took third place in 1991the first of three
finger on his left hand as much as possible standing of the instrument and opened pos- consecutive top three finishes for Kenny.
to increase his speed and fluidity, a lesson
the young musician certainly took as gospel.
During the 1970s, Kenny started backing
up his brother and other musicians in the
few banjo and fiddle contests available in
Indiana at the time; there simply werent
any guitar contests held in the area for the
young flatpicker to enter. Still, he picked
up numerous fiddle tunes and bluegrass
standards during this period, and began to
seriously study the great flatpickers.
One player who influenced Kenny
tremendously early on was Norman Blake,
whom he saw perform on a PBS television
special. At Kennys urging, his father
ordered Blakes classic Old and New album
from Elderly Instruments. Kenny studied
that album thoroughly, patiently working
out Blakes licks and breaks. He also
discovered the classic 1975 J.D. Crowe
and the New South album on Rounder
featuring Tony Rice, Ricky Skaggs and
Bobby Hicks at the local library. I had
that album out for about three months,
he says. I just loved that sound. Rices
buoyant, jazz horn-influenced guitar tone,
of course, grabbed young Kennys ear Kenny Smith, age 6, picks with his father, Carl Smith, and his older
right away. The first thing I noticed was brother Sonny, age 8, at home in Indiana
how clean and explosive it was. It was one
5
Flatpicking Guitar Magazine March/April 2000
recalled. He was asked How has your lead playing changed with
to join and has played Lonesome River Band since you joined
on the groups last the group?
two releases. Id say at first I was playing too busy,
He took another rhythm-wise. Now its more simplified.
major step in his pro- Its a little more direct and more basic
fessional career in than when I first joined the group. I think
1997 with the release thats just because I didnt know what
of Studebaker, his first they wanted. Now Ive been able to find a
solo album (Sugar Hill medium where were both happy. The last
SHCD3869). Through couple of years my playings evolved to
the CDs dozen tunes, suit the song. Thats the most important
Smiths dexterity and thing. Thats what pretty much the whole
versatility range from band is pointing toward: the dynamic of
the delicate solo flat- the song. Thats been the neat thing over
picking guitar he per- years; everybodys pointed toward that
forms on St. Annes direction.
Reel, a variety of
catchy original guitar How about any changes in your lead
instrumentals such as playing with LRB?
Me and My Farmall I guess its gotten more melody oriented,
and Amandas Reel, rather than just playing licks. When I first
to his superb straight began with them, I was sort of into the
bluegrass on cuts like licks and the more radical stuff. Now Im
One Horse Wagon playing more stuff with the melody. You
and Preachin by the reach a point where you get out of that
Roadside. On the gunslinger mode and try to do something
Kenny picks with Steve Kaufman at the Walnut instrumental title cut, new. I think the more and more I play, I
Valley Festival in Winfield, Kansas, in 1992. Kenny even shows find myself trying to play things my dad
Don Gallagher enjoys the jam. off some licks which and my granddad would have liked to listen
could have been to or would have interested them. What I
He then won the guitar contest at Merlefest inspired by Eddie Van Halen himself. play now might reach a broader audience
in 1992. All the years of intense playing I had a lot of ideas that were running than just playing to younger people. They
and diligent effort to refine his melodic through my head. Its different for a guitar understand the wilder side a little more,
concepts and sense of bluegrass rhythm album, he explained. Acting as producer but Im sort of going the other way. I dont
and drive had begun to emerge in a unique for the CD also gave him valuable experi- ever want to be known as someone who if
style of flatpicking guitar. Winfield got me ence on the other side of the control board, you learn one of his solos, youve learned
thinking about arrangements and writing which he hopes to expand upon in the all his stuff. I dont want everything to start
my own tunes, just because you might future in his own projects. sounding alike. So I try to do something
hear Cotton Patch Rag 15 times in the As one of flatpicking guitars rising super- different as far as each solo goes.
contest, he said, adding, That was sort stars, Kenny knows he has the responsibil-
of when I realized I wanted to write more ity to be a strong ambassador of bluegrass What do you try to accomplish musically
flatpicking songs, too. and flatpicking guitar. In the future, he in a solo?
While making a living at an auto parts said, Id really like to get more younger Ive always enjoyed the fiddle tunes,
plant, Smith knew he loved music but people interested in bluegrass and old- which comes from my dad. He played a
wasnt sure about making it his career. I time music. I see a lot of younger kids and lot of Tommy Jackson, who was a basic
didnt think I was good enough and didnt you can see it in their eyes; they are just square dance fiddler who had really good
think it was possible, he said. Eventually, fascinated with this music because they can tone. Thats pretty much the stuff I like.
he secured a part time gig playing with play well enough to participate in a jam So when Im soloing I think tone and
Claire Lynch and the Front Porch String session, but it takes a long time to really melody. A strong melody gets to me more
Band, and had the opportunity to play master it. Its a big challenge to them. than something wide open and fast and
with her at the annual IBMA Fanfest. That challenge still drives Kenny Smith notey. To me, that sounds like just a bunch
That exposure opened some doors for to hone his musical gifts and pursue of hot licks.
the young flatpicker, including a meeting new musical horizons. Flatpicking Guitar
with the Lonesome River Bands banjo Magazine caught up with the busy musician Youve said in the past that you never
player Sammy Shelor which eventually shortly after New Years for an interview really practiced, that it was always just
led to an audition call. I was a big fan of on his instrumental technique and where a matter of playing a lot. Do you feel that
theirs. When Sammy called and asked me he sees flatpicking guitar heading in the some work on scales and arpeggios and
to audition, I couldnt believe it, Kenny 21st century. learning the modes and what chords fit
would have been helpful, or would that
6 Flatpicking Guitar Magazine March/April 2000
have gotten in your way as a musician? getting into different fingering. Its stuff I There still must be things that frustrate
The disadvantage is that I dont know havent played before. That can come from you as a guitarist. What do you wish you
more musically. I can write tablature, but a fiddle tune, where I try to play it with did better or could change?
as for notation, I get bogged down quickly. open notes up the neck. Another thing Staying in tune. Thats a hard thing,
I took some music theory in high school, Ive learned, too, is the feel, where Im not especially on stage where youre either
which was the first time I was ever exposed thinking about the notes Im playing, just dealing with being outside where its hot,
to learning about triads and stuff. The how the tune feels. Like on Me and My or dealing with air conditioning inside and
way I look at it now is that its just the Farmall, when I first played that first part, the stage lights. All that stuffs against you.
old craftsman thing: if it looks right, it is it just really felt good to me. The chords Then when you put on a capo, you bend
right. To me, if it sounds and feels right, were different than anything Id played the strings over frets, so the strings are
then it is right. I think thats the best rule. before. I just found myself playing that stretching out of tune. It all gets in the way
As far as doing the scales and stuff, when first part every time I picked up guitar. I of good playing.
I hear someone play like that, it sounds played that so much I ended up making
mechanical. It sort of leaves me cold. Its it into a song. In addition to your ability to interpret
one of those deals where I think you reach Another thing Ive been doing is traditional material, youre also becom-
different maturities in your playing. At that I have a good friend whos given me ing known for writing great flatpicking
first, you want to learn everything. You try some older videos of guitarists like Billy melodies. How do you compose? Is it
to figure out how this one does it and that Grammer, Jerry Reed, old Merle Travis a deliberate process where you hear a
one does it. Then you get away from that stuff and guys like that. And Ive been melody line in your head and then go to
and just start just playing. Thats the neat going back watching that stuff. Its just the guitar to find it, or does it emerge as
stuff, when you finally leave all that and incredible the technique they had: the youre just playing?
start playing for yourself. incredible feel they had on the instrument. Usually it happens while Im sitting
They did some really neat stuff. So Im and playing by myself. I may be watching
Whats different about your work as a going back and doing more research now TV. We always have a guitar in living
solo artist than with LRB? and going back to guys like Lester Flatt, room. So I may come up with something
Its more laid back. Its a whole different picking out what worked for them and there. Sometimes theres something that
groove. A lot of the stuff I do solo, or trying to come up with my own thing, too. may inspire me to write something, but
that Amanda and I have worked up sitting Ive been paying more attention in last usually Im just sitting around and messing
around house, is more basic than what couple of years to older bluegrass stuff, the with it.
I do with the band. You can really hear role of the guitar. Im realizing they were
the guitar more. I do have more freedom, doing the same thing Im doing now in What do you think is the best tune youve
but its one of those things when youre bluegrass bandplaying guitar as a rhythm written?
producing yourself. You can do a little instrument. It all started from that. Jimmy I guess it would be Me and My
more, but you also have to lean toward Martinhe was really aggressive as far as Farmall. That tune really reminds me of
something everyone would like. I want to rhythm. Hell put it on ya. the tractor and the years I spent on the farm.
interest George Shuffler as much as the That tune feels really good to me.
younger guys, too. As long as George says
Im okay and nods his head, I feel like Ive
maybe done something thats good.

Whats your relationship with George


Shuffler?
I know him through the band. Over past
four years with LRB, I ran into him a lot.
Hes been real good to me. Hes definitely
one of my heroes as far as playing and
as a person. Hes always taken the time
to talk to me. Our relationship means a
lot to me, coming from all the stuff hes
done. Id definitely call him a mentor. I
Photo: Patty Lindley

love his playing.

Where do you see your playing evolving


to? You said you were beginning to
understand the concept of the guitar
fingerboard as one position. How did
you mean that?
One thing Ive done for past four or five Kenny Smith with the Lonesome River Band
years is when I pick up the guitar, I am

7
Flatpicking Guitar Magazine March/April 2000
any progress, and how action, mostly as a result of the type of
do you get over those? tunes he plays with Lonesome River Band.
I guess Im lucky We do most of our songs in A, B flat or B,
because playing guitar has so Im almost always capoed. We do not do
never become a job for any songs in open position, he explained,
me. If I ever get to that so the higher action works better for him
point, thats when Ill slow when capoed.
down. Whats important
to me is keeping my play-
ing out of getting into a Knee Deep In Bluegrass
rut. I think that has to Sometime last year John Lawless
do with the love of the of Acutab Publications had been talking
instrument. Youve gotta to a few of the musicians who he has
love it enough to try dif- featured in his excellent series of bluegrass
ferent things on it. I think transcription books and the idea about
everybody that picks up recording a project with his coral of banjo
the instrument has a cer- pickers, mandolin players, and guitarists
tain responsibility to the was thrown about. John says, I thought
instrument to try to do it was a great idea and Dave Freeman at
it better and not play the Rebel Records also thought it was a good
same thing all the time. idea. The project, titled Knee Deep In
Bluegrass, was recorded this past summer
Kenny Smiths Guitars and features Sammy Shelor, Scott Vestal,
& Setup Pete Wernick, Alan Munde, Tony Trischka,
Butch Baldassari, Barry Bales, Terry
Kenny says his prized Baucom, Wayne Benson, Alan Bibey,
Kenny Smith playing his signature model 1935 Martin D-18 is still Ronnie Bowman, Rob Ickes, Jason Moore,
Lucas guitar his main axe, but he also Joe Mullins, Mark Newton, Alan OBryant,
loves the Kenny Smith Kenny Smith, Tim Stafford, and Ron
Where do you see your career going in model mahogany dread- Stewart. This project will be on the streets
the next five years? Do you see yourself nought built for him by Randy Lucas by the 16th of May from Rebel Records
leading a group like Tony Rice? of Lucas Custom Instruments (Lucas (Rebel 1759).
I definitely do not want to leave the Custom Instruments, P.O. Box 1404, In addition to recording this great
Lonesome River Band. I really like the Columbus, IN 47202, 812-342-3093, CD, the Knee Deep In Bluegrass cast also
guys and the stuff we do. Theyre like www.lucasguitars.com). I play that one came together on the 7th of January 2000
family to me. So right now, Im happy a lot. That guitar has continually evolved. in Bristol, Tennessee, and performed a
doing what Im doing. But later on down Randy and I keep in touch every month, live show. This show was recorded by a
road, I do see me and Amanda doing and thats been a neat relationship, he professional camera crew and John Lawless
something together. reported. says that the video of this concert should
Kenny also uses a self-built guitar as his also be available by May.
Whats most exciting to you now about sitting around the house instrument, The two guitar players on this project,
the state of bluegrass music? and added that hes still waiting for my Kenny Smith and Tim Stafford, got together
Theres a lot of real good music out there D-28. Ive never owned one. He uses a and recorded Angeline The Baker as a
now as far as acoustic things go. As far medium stiff tortoiseshell pick, although guitar duet. Kenny said that it was Tims
as the caliber of picking goes, its moving he recently experimented with a pick made idea to record a fiddle tune together and that
to a different level. At the campfire jam from the same material used to create false Tim had a great arrangement of Angeline
sessions, theres just a lot of great players teeth. Ill try anything that gives you that The Baker that he played with the capo
out there now. Were seeing a younger sound, he said. He rounds his picks to a only freting the first 5 strings. Tim put the
fan base, too. Thats one neat thing about fairly small size because he feels a smaller capo on the second fret and played the song
bluegrass. For as long as Ive been playing, pick puts less torque on his hand and tires out of the D position. With the 6th string
theres been no generation gap. Its one of it out less when playing lead and rhythm. remaining tuned to E, he was, in effect,
those deals where I respect the guys that All his guitars are strung with DAddario playing as if he was in a dropped-D tuning.
were first playing it just as much as the EJ-17 mediums, although in the studio he Kenny decided to capo up on the fourth
people doing it now. Really, there are not has used the Elixir strings because they fret and play the song out of the C position.
too many musical forms like that. stay in tune better. They slide better under Kennys first two solos are transcribed on
the capo and over the nut better because the following pages.
What keeps you motivated as a profes- of the (Gore-Tex) coating. They worked
sional musician? Do you ever hit pla- out great. They also last forever, he said.
teaus where you dont feel youre making Kenny keeps his guitars with what many
flatpickers would consider a pretty high
8 Flatpicking Guitar Magazine March/April 2000
Angeline the Baker Arranged by Kenny Smith

h Transcribed by Andy Friedman

~
Capo 4


C F C

&C
1

0
1 2 0 2 0 1
0 0
1
2 0
2 0 3 2 0 3 0 2 3 3 0 3 2 0 3
1 1

~
0 2 0 0


2
0



2
0
1
3
5






1
2
0
3

p. p. h. 0 h. 0 0 p.
T
A

0 2
0

1 0 1 1
3

0
2
0

3 1

0 2

0 2 0
B

C

C

F C

6

& 0
2
1
2 2 0
2 0 0 0
3 3 0 0 2 0 3 3 2 0 3
1 1 1
0 0 3 3 1 2 0








0
5
3
1
2
0





2
0




2
0

0 0 0 0 p. p.
T 0 1

3 5 5 1




1 0 1 1
A


2 0 2 0 0 2 2
3 3 3
B


C F C F
11
.
&
1 J
0
1
2 0 2 2 0
0 2 3 0 3 0 2 3
3 1 1 1 1 3
1 0 3 0 0 2 0



1
0
3
5




1
2




5


0
5

0
2
0

h. h. 3 0
T
A 0 2
3 1
0 2

0 2
1
J 2

1 1
0
3 5

#
F

C C

.
16

& J 1
3 2 0 2
0 0 0 3 4 0 3 2 0
1 0 1 2 3 0 3 2 1
1 2 1 0 2 3 0 0
1
p.


0
1

2




2
1

2
3

1
2
0




0 3 0 0 0 p. 3 0 0 h. h. 0
T 1
J 0

3 1 3 1



0 2 0 2 2 2
3 3
B


C F C


21

& 4 4
2 0 1
1
0 1 1
0 2 0 3 3 0 3
0 2 2 2 0 0 0
4 1 2 1 2 0 3 0 0 3
0 2 4 0 2
0





2
1

2
3

3
2
0

p.
1

3 0 0 0 p.
T
2
0
0
0
0
0
0

3 1 p. 1 h. h. 1 1
A 3
3
2
0
0
2
0
2
2
2
3
2
0

0
B 3
3

9
Flatpicking Guitar Magazine March/April 2000
Angeline the Baker (cont)


F C


26

&
2 0
0
2 3 0
1 3 3 0 3 3 1
0 2 0 3
1
1
0
2 0 3 0
3 2
0
0 3 0 2 2






p.


p.




0 h. 0 0
T











h. 1 3 5 5 3 3 1 1 1 1 p.
A



3
3





0 0 0 2 0 2 0 2 0 0 2 0 0 0
0 2 0 2 3 3 3 3 2
B

C F C


31

&

1 notes: the vibrato in measure 2 is slight
0 0 0
2 3 2 0
2 2 3
0

T h.



1
1

A



0
2

0 h. 0 h. 0
B
2 3 2 0

2 3

~
Angeline the Baker - 2nd break

#
C F

&C
1

0
1
2 0 2 0 1
0 2
1
0 0 2 0 1
2 0
2 0 3 0 2 3 3 1 2 3 3

~
0 3 1 0 2 0 1 2




2
0




0
2
1
0
2
1
0
3
5
3
4
0
3
1
0
2
0
1
2
0
2
0
1
2
0

p. h. h.
T

1 0 1 1
3
3

0 2 0 2
3
B

C F C

C

&
6 3

0 0 0 1 0
2 0 0 0 2 2 2 0
2 0 3 1 2 0 2 0 3 3 3
1 1 3 0 3 1 0 2 0 2 1
1 2 3


3
1
0
p.
p.
h. p.




1

1
2
0
2
0
0
1
3
5

0 h.
0
2
0
0
2

T
2

2
2
0
2
0

0 1 1 3 1 h. 0
A 3
2
0
2 3

0
B 3


C F

F

C

J J
11

& 0
1
2 0 2 0
0
3
1 3 3 4 3 1 3 0 0 2 0 3 3 2 0
3 0 0 3 1 3
1 3 2 3 3
2
p.
5

5
5

5

5

0
0
0
0

J 5
J 0
2
0
1
2
0
3 2
0
1
0
3
5



3 5 3 p.
T
5

5 5 5 3 3
A

0
5 3 3
B

10 Flatpicking Guitar Magazine March/April 2000


Angeline the Baker (cont)

# 3
C C

F

&
16

1
2
0
0

2
0
1
4

0 0 1 2 3
0
3 1 3
0 0 2
0 3 0 1 3 1
4 1 2 1 1 0 2 1

p. h. p.
T 1

0

3
0


2
1

1
2
3
0
3
1

0



0
h.2
2
0
2
1

0
0

1 3 1 3 1 1 3 1
A 2
2

0
B 3


C F C


21

& 4
0
1
2 0 3
2
3 0
2
0 0
1
0 0
2
0 1
0 0 2 3 0 3
4 1 2 1 0 2 3 0 2 3
2





2
1
0
2
3
0
1
2
0

p.

1
1
0

3 0 p.
T 3 1



h.


1




2





3

A 2 0 0 h. 0 0 0 0
B
3 3 2 0 0

2 3
2 3 2 0

C F C


26

&

1
0 0 3 0 2 0 3 0 3 0 0 0 1 0
0 2 0 2 2 0 2 0 0 0 3
3 3 3 0 2 3 2
0 0
1 1

p.
T



3


2
3
0
2
0
3
2
3
0
0





1 h. h.
0



3



3

3

A 0 2 0
0 0 0
3
0 0
2 0
0 0
0 2 0 2
0
B

1 1

C F C

& J ..
31
Notes: On the last note of measure 8 the 3rd finger is hammering on the fifth string,


1 sounding a C note without actually picking it.
0 2 0 3 0 1
2 0 0 In measure 15 the isolated slide by the second finger is actually a slide down from
3 2 3
the 3rd note of the measure but it begins at the same time as the 4th note.
In measures 25,29 and 30, the notes in parentheses sound as if Kenny 's fingernail


1
1
J 01

p.
T



3
2

is brushing the string slightly ahead of picking, creating a click sound.

3

2

A 0 2 0 0
B
0

On our Flatpicking Guitar Magazine Audio


companion CD to this issue you can hear all
of the songs which have been tabbed out in
this issue plus interviews with
our feature artist!
Call 800-413-8296 to Order

11
Flatpicking Guitar Magazine March/April 2000
Norwegian Wood
by Craig Vance

Norwegian Wood is a tune that I a labor of love since John Lennon and Paul
first learned back in the early 1970s while McCartney have been a major influence on
I was supposed to be learning stuff like the beginning of my musical career.
Amazing Grace. Norwegian Wood Songs such as this, Blackbird, I Will, the Em and A. This part of the tune gives
was more in my league. It was an easy and While My Guitar Gently Weeps you much more room to improvise. Ive
tune to mimic from the original version that have always been some of my favorites of come up with a few alternatives myself,
the Beatles recorded in 1965 on the album theirs. There are several others they have but so far, I like this one the best. That
Rubber Soul. Some of you may remember written that could be done as acoustic guitar is basically what I have done with this
it. This song almost unfailingly made its instrumentals. If you spend much time version. It functions fine as a solo guitar
way into folk jams in the late sixties and in shopping centers, youll undoubtedly piece, but since the tune is short, trading
into the early seventies. hear one or two of their pieces done in it off with another guitarist or another
Now I am sitting in the comfort of my Muzak. If it can be done like that, then instrument would fill in the gaps. Another
friends dining room in the Adirondacks, there is always a way to get it down on nice this is that the tune can be played
and this tune has come back to me. Thirty the guitar. at breakdown speeds or in a slow waltz
some odd years later I am pondering I took the main part of the melody time. Use your imaginationtravel back
options of this tune in Bleecker, New and added some ideas of my own to make in time a little. Just dont forget how to
York, and coming up with an instrumental this playable as a guitar instrumental. Get Back!
version of a song that I would rather When you get to the B part of the tune, use
play than sing. The words are great, but alternate down/upstrokes throughout. Then
I felt that an instrumental version of it follow the pattern up from the G chord to
would be more poignant at this time, and Am, Bm, and back to Am. Go back to the
certainly for the magazine. This was truly beginning of the B part and then resolve to

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12 Flatpicking Guitar Magazine March/April 2000
Lennon and McCartney
Norwegian Wood Arranged by Craig Vance

# # 12 . () ()
D C D C D

..
1

& 8 . () ()
n
3

..







4
23
23
2
0
4
0
32
32
0
0
3 3 .
HP

2
2
2
2
.
3 (3) (3) 3 3 3 3
2 (2) (2) 4 2 4 2 0
3
2
0
0

## . n n
Dm
3

& .

.. 7
6

7
6

6
6

6
6

5
6

5
6

4
6

4
6

5 5 5 5 5 5 5 5

Gm Am Bm Am Em Am

##1.
j

4

n
2.

& .. J




0 1 0

3

5

5

7

3

5
..
0

5
5

7
7

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4

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# # () ()
D C D C D

& () ()
n J
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4
32
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4

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0
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H P
3 (3 ) ( 3) 3 3 3 3 3 3 3 3
2 (2 ) ( 2) 4 2 4 2 0

0
2
3

0
2
0
J
3

13
Flatpicking Guitar Magazine March/April 2000
Beginners
Gcdgcdgcdgcd Page
gcdgcdgcdgcd
by Dan Huckabee
Perfect Pitch: in my first band, a bluegrass trio called: color to pitches. Can you close your eyes
Musics Greatest Mystery The Bluegrass Roadapples. The year and picture red? Yes, of course. What
was 1971 and the group consisted of Joe if youd never seen the color red? No. No
First, what is Perfect Pitch? Basically Carr (who writes for this magazine), Gregg way! Well, youve heard a G before, but
its when someone says sing a C-note, Kennedy (who later played bass for Bill you cant just sing a G, can you? I say if
and you can do it. Now thats a little mind Monroe), and myself. you hear a G often enough, and you are
boggling, so lets look at it from another Laura always rated our performances really paying attention to its pitch, you can
angle. What if I were to play a note on my based on how well in tune we were. Not eventually embed it in your memory.
guitar, and then ask you to tell me what how well our instruments were in tune If you shoot free throws every day on the
note I played? Of course, if you saw what with each other, or how well we sang, but basketball court, you get to a point where
note I played, you could tell me what it how close to A-440 we were tuned. We you can hit them more frequently, and if
was, but Im talking about hearing a note, could be well in tune together, but not on you practice enough, you can sink 10 out
and being able to tell what it was, by the A-440, and it would be painful for her to of 10. But what if you quit for a month?
sound alone. Very mind boggling! endure. Your accuracy would drop off. So what
OK, what are you hearing that tells So if she had this ringing sound in her does it take to sink a free throw every
you that its a C-note? You are hearing head that she could never turn off, and it time? It takes using the exact amount
its highness or lowness. You call tell was an A-note, how did she identify all of effort and angles of your arms, and
how high the note is by sound (but how? the other notes besides A (youre getting stance of your legs. In other words, it takes
..Patience.Im getting to that). ahead of me again)? repeatability. If you throw the ball up to
I had a friend who had perfect pitch Laura also had a talent or skill known the basket exactly the same every time, it
when I was in college. I was in the Music as relative pitch. She knew intervals. will go to the same place, every time.
Department at North Texas State University She knew how far it was from A to E by Getting this to happen on pitch memory
(or The University of North Texas as its the sound. Relative pitch means that if is hard, but not any harder than free throws.
known today). Her name was Laura Jarvis someone gives you a note, you can sing When Im spending a lot of time with
(at the time). I dont think shed mind another note, because you know what it music, Im at my best at guessing notes. I
if I embarrassed her by bragging on her would sound like based on the first note. dont think Ive ever been 10 for 10, but
unique natural talent in such a prestigious In other words, if I sang: Oh, Ive been Ive seen myself improve, so I know that it
magazine. It was so intriguing and amazing working on the railroad. I just happen to would continue, if I worked on it enough.
to me that I sometimes annoyed her by know that from Oh Ive happens to be a I have never been able to hit 10 out of 10
constantly testing her. Id sing a note, or perfect 4th. So if Oh was a G, then I free throws, but I have been closer when
hit a note on the dormitory piano, or on my could tell you that Ive is a C. Ive done it regularly.
guitar or dobro, and insist that she identify Most people think that perfect pitch But will having perfect pitch make you
the note that I offered. Man, Id put my is something that you are born with and a better guitar player? I say yes, because it
guitar out of tune and shed say, Thats that relative pitch is something that you focuses on the discipline of LISTENING,
half way between a G and a G-sharp. Or can learn. Thats not exactly true. In fact, which is the most important aspect of
Id play a really low note or a really high Ive discovered from being around lots of music. Perfect pitch is one of the chapters
note at the extreme ends of the piano. Id different musicians, that there are different in our 2-hour video called: Understanding
do anything I could think of to try to mess forms of perfect pitch. the Formula of Music Makes it So Easy!
her up. Well, curses! Sometimes shed I actually think that perfect pitch Another chapter is on relative pitch.
hesitate, but I never stumped her. has been mis-named. I think the name Give us a call at: MusiciansWorkshop
Laura was born with perfect pitch should be changed to pitch memory. If 800-543-6125 if youd like to know more
(and she was a good musician too). She you can name any note you hear, whatever about it. Keep listening, and Ill see you
played piano. Eventually, I learned that note someone commands (without having next issue.
this mysterious gift that she possessed a guitar to cheat), that means that you
was both a blessing and a curse. The way remember what that note sounds like.
she described it to me, she had an A-440 So what makes a note sound different
ringing in her head, and it wasnt something than another note? How high or low it is.
that she could turn off. At the time I was Obvious, but my point is that there is a

14 Flatpicking Guitar Magazine March/April 2000



# Flatpick Rhythm Guitar
H.O.

3
0 1 2
0 2 0
0
by Joe Carr
Rodney Dillard - Rhythm Master

At the suggestion of a reader, I dug Dougs Tune is a Doug Dillard original Live, Almost, showcases their wonderful
out my old Greenbriar Boys and Dillards which is still a popular jam tune. Rodneys live performance and Mitch Jaynes hilari-
albums and tried to remember how exciting original rhythm guitar arrangement gives ous stage patter. Pickin and Fiddlin is an
and new this music (made by young people) the tune a unique sound, described in all-instrumental album which features the
sounded back in the 1960s. I was not the original liner notes as South of the fiddling of 21 year old contest champion
disappointed. I realized that John Herald Border. Rodney credits his friend Travis Byron Berline. All three of these recordings
and Rodney Dillard had a tremendous Edmondson with the idea for the accompa- are excellent and highly recommended.
influence on many fledgling guitarists who niment. Try it out on your local banjo
were just getting into acoustic music in player and watch him/her burst into a big
the late 1960s and early 1970s. This article grin.
is dedicated to Rodney Dillard. A later The original recording was performed
article will concern the Greenbriar Boys in B with a capo at the 4th fret, but for
John Herald. the Flatpicking Guitar Magazine Audio
The Dillards made it into living rooms CD recording I played in open G. Special
across the country in the 1960s as the thanks to Alan Munde for playing banjo
Darling family on the Andy Griffith televi- with me! The original recording of the
sion program. At the core of the group tune begins with Mitch

ALLEGHENY ECHOES
were brothers Rodney and Doug Dillard, Jaynes solo bass intro
who played guitar and banjo respectively. which is joined by Rod-
The popularity of the show insured that neys catchy rhythm
Dillard albums were available in record lick built on a G6 chord.
shops that normally did not stock much This bass line is contin-
bluegrass music. ued against the V chord 4th Annual Snowshoe Workshops
Back Porch Bluegrass, the first Dillard when the banjo enters. Snowshoe Mtn. Resort Snowshoe, WV
album, was released in 1963. It included, I have provided an two
for the first time, Dooley, Old Home alternate measures at June 25 - July 1, 2000
Place, and Dougs Tunesongs that the end of the tab which
have since become bluegrass standards. can be substituted for Traditional flatpicking instruction
Countless folkie gutiarists (myself included) measures 13 and 14. on guitar by:
converted to bluegrass after hearing this The Dillards released
Robin Kessinger - advanced - 2 time natl champion
exciting music. If you havent heard this two other albums on
Larry Combs - simple leads - Bing Bros. lead guitar
classic album, check it out. Electra in the 1960s.
Danny Arthur - backup - Bing Bros. backup guitar
Chris Nickel - bluegrass lead
Also instruction available in:
fiddle, banjo, mandolin, vocals, bass, dulcimer,
hamemered dulcimer, creative writing
For catalog and information:
Phone-304-799-7121
e-mail: mawbing@hotmail.com
muckle_h@hotmail.com
Mike Bing Rt 2 Box128-M Marlinton, WV 24954
Class size limited to 10

15
Flatpicking Guitar Magazine March/April 2000
Dougs Tune - Rhythm Arranged by Rodney Dillard

# 4
G Transcribed by Joe Carr

& 4


0 0 0 0 0 0

0 0


2
0

0 0 0 0

0 0


2
0

0 0 0 0
P P


0

0 0

0 0 0 0 0

0 0

0 0 0 0

0 2 4 2 4
3

# .
D7 G

5

& .

.. 012
012
0 0
2
2

1 1
0 0
2
2

1 1 P 0 0
2
2

1 1
0

0
0
0
0

0 0
0
0
0

0 0 P 0
0
0

0 0
0
2
4
2
0
0
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4
2
0

#
D7 G D7

9

& .
#
0 0 0 0 0 0 0 0 3
.
2 2




2


4


2
0




0

1 1 1 1 1 1 P 1 1 0 1 1
2 2 2 2 2 2 2 2 0 2 2
0 0
2
3


2 3 4
0

j
# n ..
D7 G G7 C G


14

&




.
.


. #
1.
0.
2 2 3 3 1 1 1 0 0



0.

0.
1 1 0 0 0 0 0 1 1

2

2 0


0 0 0 0

0

0




3
.

0 0 0 0 0 0 2
0 3 2 3 4
3 3 3 3 3
J
#
D7 G D7
19

..
Alternate measures 13-14

&
#

2

1
2

1
3
0

..

2

0


0
2
3
4

0
2
4
2



0 0 0 2 0
0 3 2 0
3

16 Flatpicking Guitar Magazine March/April 2000


17
Flatpicking Guitar Magazine March/April 2000
How did you become interested in play-
Flatpick Profile: ing the guitar?
There was an acoustic guitar sitting
around the house that my mother had,

Stephen Bennett an old Framus. One of those Bavarian


guitars that she thought shed learn to play
someday, but never got around to it, so
by David Dugas it was sitting around. I picked it up and
started playing folk music at first, then rock
and roll grabbed me. I grew up playing
in rock and roll bands in high school and
playing at school dances.

How did you become interested in flat-


picking?
I didnt really know what flatpicking
was when I was a kid. The night I went
away to college I heard a Leo Kottke
record and that completely converted me
to fingerstyle. It wasnt long after that I
heard a Doc Watson record and I knew
I loved flatpicking too. Of course Doc
also fingerpicks. I absolutely loved Doc
Watson. So, it was really his playing that
made me want to flatpick.

Did you do the traditional thing where


you wore out the records trying to learn
the licks?
I did learn a few Doc Watson things. I
read music. Ive read music for my whole
life. I started out playing clarinet in the
school band and taking lessons. I also had
piano lessons. So I wound up getting books
of fiddle tunes not arranged for guitarjust
Imagine Tchaikovskys The Nutcracker After one of his shows at last years Walnut fiddle tune books. I would learn fiddle
Suite played by an orchestra comprised Valley festival, Bryan Kimsey and I caught tunes that way and not necessarily copy
of the following instruments: a 1909 Dyer up with Stephen someones arrangement note for note. I
Brothers Harp Guitar, 1932 National learned a few Doc Watson things that
Triolian Resonator Guitar, 1973 Martin You won the fingerstyle contest and way, Black Mountain Rag and stuff. But
D-28S, 1983 Stuart Mossman Winter placed in the flatpicking contest here? mostly I didnt care about sounding exactly
Wheat Guitar, 1983 Takamine C. Bruno The other way around. I won the like that. I loved the flavor of it.
Anniversary Guitar, 1986 G&L Broad- flatpicking contest and I placed in the
caster, 1988 Lorenzo Pimentel Classical, fingerstyle contest. Howd you develop a pick direction?
1966 Gibson 12 String Guitar, 1997 Ron Whered you get instruction on doing
Spillers Harp Guitar, 1995 Taylor Acoustic When was that? the Down-Up-Down?
Bass and a 1977 Martin 0028C Classical Well, the first time I came here was in Well, to me it was the only thing that
Guitar. Now imagine all those instruments 1983. I came in not having any idea what made sense. I basically play exactly the
played by one person (recorded via multi- the festival was going to be like. I placed way Steve Kaufman does as far as the right
rack recorder) who faithfully followed the second in the flatpicking contest. I was hand goes and I just sort of arrived at it
original score. Thats Stephen Bennett, a camped right next to Pat Donahue, who on my own. I didnt read it in a book or
player whose technical versatility includes won the fingerstyle contest that year. We anything and nobody showed me. Thats
electric guitar, fingerstyle guitar and stayed up late playing every night. I also just what made sense.
flatpicking. Stephen is not just another did the fingerpicking contest and didnt In playing electric guitar I used mostly
esoteric multi-tracking musician. He can place. I came back in 1984 and didnt down strokes. You can do a lot of real fast
get down and flatpick with the best of place in the flatpicking contest. I came back things on electric guitar just using down
them; witness his stage performances with in 1985 and just fingerpickedI came in strokes as long as you work in lots of pull-
Steve Kaufman and Beppe Gambetta at the third. I came back in 1987 and won the offs and hammer-ons at the same time.
1999 Walnut Valley Festival in Winfield, flatpicking contest. But I always knew that. I could hear it in
Kansas. my head, but I couldnt make it happen
18 Flatpicking Guitar Magazine March/April 2000
using down strokes on the acoustic guitar. The contest thing is great. It was such What kind of pick do you use?
So, I just sort of arrived at the same thing a boost to come here in 1983. Id won I used to like the Dunlop blue Tortex
Kaufman didthat down-up is really the a couple of local guitar contests back in (1 mm) pick. But I had been experiencing
logical way to do things. Obviously people Virginia, but to come here to the national arm burnout for some years (the picking
have some variations on it. championship for the first time and win arm). I had attributed it to a circular thing
second place I mean that was such a of not doing as much flatpicking as I used
Do you tend to stick with the down-up shot in the arm. Of course that makes you to. My arm had been cramping up to the
or do you mix downs and ups or do you want to get better and come back and try point of nearly locking up entirely. One
let it come out as whatever you want? to win first place. So as a result you try day I could not find my Dunlop blue and
Are you conscious of what your right harder and harder, you play more and you picked up a thinner pick. All of the sudden
hand is doing? get better. So sure, the contest is a good I wasnt experiencing the arm burnout and
No, its a system. Its just the way it thing. In one sense contests are bad because flatpicking was fun again. I realized the
is for me, just like with Stevehe doesnt music is not really about competition, its stiffness of the pick was at fault. I love
even think about it. I just dont think about about cooperation and interplay. Hearing the tone that the heavier pick gives, but its
whether its going to be an up stroke or a what the other guy is doing and doing not worth the pain and aggravation. Im
down stroke unless I blow a lick and the something that compliments it. On the using a pick that is about the equivalent of
lick is not working. Its probably because I other hand, its a great incentive, a great a Fender heavy, or I use the yellow Tortex,
didnt start it on the right stroke. But mostly way to improve yourself. It makes you around .74 mm, I think.
I just dont think about that anymore. Its say to yourself I want to do better next
ingrained. year! And your guitar?
The guitar I use was made by Jim Merrill
How did the fingerpicking influence the Do you think that a contest encourages in Virginia. He built it for me.
flatpicking? Did they cross over or did overplaying? Do you think that the guy
you try to keep them separate? that wins is the most musical player or is Howd you run across him?
I have thought of them as separate he just the flashiest player sometimes? Well, he had worked on my guitars
for quite a while. There are obvious Well, people will argue that back and for the last 10 years. He did some work on
advantages and drawbacks to both. You get forth. Everybody is not always happy with my harp guitar. At the time I had to drive
multiple voices with fingerstyle. You can who wins every year, but you cant please about an hour to get to where he was, but
play a bass line with your thumb and you everybody. A contest couldnt get any fairer he had a reputation as the best repairman
can be off doing melodies, internal voices than Winfield. You have blind judging and and it was well deserved. Then he started
and harmony voices when you are playing you have five judges. building instruments and he built this one
fingerstyle. On the other hand, you dont for me. It has Koa back and sides and a
have that driving single string sound that a And one of those judges is going to be Cedar top.
flatpicker gets. Its a very rare fingerpicker on the musical side and one is going
that can get that driving single note, that to be on the flashy side, so its going to Whats the nut width on the guitar? Is it
real strong flatpicking sound. In fact, Ive even out, right? standard, or 1 3/4?
tried to get that as a fingerpicker. At times Yeah! Overall, its going to even out and I dont know the exact measurement, but
Ive thought that Im not going to flatpick overall I think its going to be the essential its slightly wider than standard.
anymore, but I always come back to it musicality or lack thereof thats going to
because I love the sound and Ive never come through. Again, youre not going to Do you have a preference in neck shape?
been able to capture that with my fingerstyle please everybody all of the time. Do you like a V shape?
playing. I can capture other things with Its more rounded, just smooth round-
my fingers that just dont work at all with Do you use the same guitar for both C shape I guess Its definitely not the V.
a pick. I just love em both. fingerpicking and flatpicking? I dont really pay that much attention to
I use the same guitar. Because the those things. I should I supposeeither a
Do you ever use a hybrid of pick and fingerpicking would become more fatiguing guitar feels good to me or it doesnt.
fingers? with high action, I generally tend to go with
Like some of the Nashville guys do? No, a lower setup, lower action and just sort of He worked on your instruments before,
I really dont do that. That never felt right. sacrifice. I usually have a little more buzz so he already knew what you pre-
A tune is either going to be a flatpicking than I probably ought to for flatpicking. ferred?
or a fingerpicking tune. I can do the same I use light gauge DAddarios Phosphor He made some judgment calls on his
tune either way. It just depends on what Im Bronze strings. In terms of equipment, I own. On some of the things he asked me
after. I love both those sounds. use a Pendulum Audio preamp and I have about the guitar and I said, I dont know
a Highlander pickup and an AKG C-411 what I want, so he just did some things to
What about contests? What do you feel it microphone. make it the right guitar for me. Its a great
gave your playing? Did it take anything guitar. I like it a lot. And again, it may not
away from your playing? Did the contest Do you have a blender on it? be for everybody, but I find it to be the
playing hurt you in any way or did it Yeah, its part of the Pendulum. I can perfect flatpicking guitar the way I have it
help you? change it from the pickup to microphone, set up, but I use it for both styles.
so I can mix up the percentage.
19
Flatpicking Guitar Magazine March/April 2000
One last thing is you mentioned earlier If you had a preference on a fiddle tune, I do things where Ill layer guitars. I did
that you read music and yet you are which would you take? a version of Tchaikovskys Nutcracker
known to have a really good ear. How It doesnt matter. Ill learn the tune Suite where its all guitars. Its everything
did you go about developing the two? A any way I can. from screaming electrics to flatpicked
lot of people that tend to read dont tend dreadnoughts to nylon string guitar to harp
to develop their ear. How about variations on a fiddle tune? guitar to slides all mixed up together play-
Ive just been doing both for so long that When you see the written music does it ing a very literal version of Tchaikovskys
I dont even really think about the differ- tend to lock you into that or is it still easy Nutcracker Suite.
ence. I suppose there are some symphony for you to come up with variations? I got invited to go play in France next
players, classical players that only read No, I dont have any trouble making up month and play harp guitar. Thats another
and if you put them in a circle with some variations. Again, its just from doing it for thing thats helped me create a niche. There
sort of bluegrass and it was their turn they so long and being used to improvising from are a lot of good guitar players out there.
wouldnt know what to do because they when I was a kid. I dont know if thats a Maybe I could make as it as a guitar player,
didnt have the page in front of them. Id good answer or not. maybe I couldnt, but there are virtually no
hate to be that way. Ive never had that, harp guitar players. So that helps me get
because when I was a kid I was also playing Whats it like playing the harp guitar? noticed and it just helps the whole thing.
rock and roll. I started doing it by copying The harp guitar is great, its a wonderful People ask, Where did the harp guitar
other peoples solos and learned some of instrument. come from?
the licks. You get some of their ideas and
you figure out how to make a phrase, a Why dont more people play them? Yeah, how did you pick up on it?
musical phrase. I just dont think about Because they dont know about em. It was my great grandfathers instru-
the distinction anymore. I can look at a There arent many out there. Although ment. About 10 years ago I was able to
piece and know what it sounds like without there are more being made. I know of a acquire it from my uncle. The instrument
playing it or I can sit down and play. I can dozen or so that have been made because sat in his basement for 20 years since my
learn a fiddle tune by sitting down with of people saw me playing mine. So I think great grandfather died. Thats one of my
somebody and have them show it to me or I there is a small renaissance of harp guitars musical undertakingsto try to bring that
can just read it. Thats really handy. out there. Its a tough instrument. Its instrument more attention. Not on the latest
not for everybody, but its a wonderful recording, but the one before that called
instrument. Its not a good flatpicking Harp Guitar is just the harp guitar. There
instrument, theres no question about it. is flatpicked harp guitar on that CD. Only
Theres no reason to flatpick itBeppes one tune, but I did put one on there.
got one here too. Next year Im going to play as a soloist
with an orchestra. Do you know a mountain
Michael Hedges had one. dulcimer player named David Schnaufer?
Yeah, and his was the same as my He did a piece called Blackberry Winter
great-grandfathers. The way to use it for where he took Blackberry Blossom
flatpicking is not to use the bass strings. and some other tunes and used them for
You know what the sustain pedal on a dulcimer and orchestra. I think Im going to
piano doesit just lets the strings ring. be doing that piece with the orchestra. Ill
You get those sympathetic vibrations. This actually be flatpicking with an orchestra
happens when you flatpick on the six-string behind me. Itll be an interesting rhythm
part of the harp guitar. It gets all those other instrument.
strings ringing so you have this wonderful
reverb.
To find out more about Stephen Bennett,
What are you doing now in music? his recordings and performance dates,
Well, I do a lot of different things. I visit his website at www.harpguitar.com.
keep making recordings. They are mostly You can also contact Stephen via email at
fingerstyle recordings, but I try to put on sb@harpguitar.com.
some flatpicking pieces on each CD, includ-
ing the newest one. It has two flatpicking On Stephens most recent release No
pieces on it. I try to contribute something Net he picks his fantastic arrangement of
to the repertoire. I try not to do what Cooleys Reel. We have provided the
everybody else is doing. Im trying to do transcription of Stephens break on the fol-
something a little different. Thats the only lowing pages. You can also hear Stephen
way you are going to get noticedto do play this tune on the Flatpicking Guitar
something a little bit different. My flatpick- Magazine audio CD which accompanies
ing tunes are different than everybody this issue.
elses.

20 Flatpicking Guitar Magazine March/April 2000


%
q Cooleys Reel Arranged by Stephen Bennett
Transcribed by Jay Brian Kummer
#
Tuning: Dropped-D
4 j
6

& 4
3

1 2 3






0
2
3

44 j

5
7 12 0 0 5
7

7 0 0 2 0 2 0 3
0 4
2
0




0 0 5

7 12
6
0 0 < > < >
T

7
< > < > < > 3
A < >
7
< > <
4 2 0 2
<
>
>
< >
B 5< >
< >

#

6

& .
3

4 5 6

3 0


7
7
7


2






7 4 2 0

5 2 3 0 0 0 12 0 0 < 0 >
0 2 0 2 0 0
T

< > 3 < >


A < 5 > 5 < > < >
4 0 2 4 0 2 7 < 4 2 0 >
B < 5>
< >


&
# 45 j 44
.

7 8 >

0



0
2
3
5 5
2
3
0
3
0
2






j
T
A
B

2
0
<

5 >
< 7>
< 12 >
3
4 4 0 2 4 0 2
.
0
0
44
0

# 4 .
& 4 .
3


>
>

10
> >


11

44 ..
0 0 2
0
0 0 2
0 3 0 2




2

0

2




2
3
2



0
2
0

0
0
2
0
3
0 2 3
3

T
A 2 2 4 4 2 0 0 0 0 4 0 4 4 0 2 2
B 2
2
2
2
2 2
2 2

#

&
3
3


>
>
12 > 13 14 >



5 2 3 0











0 0
0

2 0 0 2
0 3 0 2
4
4
2
0
2
0
0 0
2
0
0
4
2
3 2
4
0

3
T 3 0
A 2
4 0 2 4 2 0 2 0 2
2
B 0
0
2
2
2
2
0
0

21
Flatpicking Guitar Magazine March/April 2000
Cooleys Reel (cont)
. Time


1st

#
&

> > 16
2nd Time3
17


0

0
0
0

0
3
0
2
3
5
2
3
0
3
0

0
0



0

3
0


3
0

15

T
A

2 2
2 2 2




4 0 2 4 0 2
0 0 0 0 0 0 0 3 0

B 2
2
2
2

# #

& #

3
18 19 20

T
2

2
3
2

0
2

2
0
2
3 2 0
0
0
0 0
0 3
0 0
0
2
3 0 2 3 5 2 3 0
3
0
2





0 2 3 2
A 4 4 4 4 0 2 4 0 2
B

To Coda fi
#
& # #

21 22 23


0


0

3

0


3
0


3

0

0
2
3
2
0
0
0
0
0
0
3
0
0
0
2
3
0
2
3
3 0

T
A
0 0 0 0 0 0
2
4 2 2
4 2
4 2
B

.
1/2X

# .
1.


2.

.. J
&

>
24 25
j 26 27


5
2
3
0



5

.
0

10
1210



12

12
12
1012





10
10101210
2






.
9 121210 12 11



10
10
10
11

11
11
4 0 2 4 0 2 0 .
T 3 0 10
A 14 9
12 12 12 12
B 0
0



1/2X

#

&
28 29 30


9 12
12
10
12

9 12
12
10
12
15
17
14 15 17 14 15 17
15
16
14





9 12
12
10
12

9 12
12
10
12
10 12
10
12

16
14 16
14
T
A
B 17 17

22 Flatpicking Guitar Magazine March/April 2000


Cooleys Reel (cont)

#
&
31 32 33

T
11
10

1010 12
1010 11

11
10
10 10
11


9 12
12
10
12
9
12
12
10
12
15
17
14 15 17 14 15 17
15
16
14





A 12 12 12 12 16 14 16 14
B 17 17

# ..
&
.
34 35 36






0




0
2
3
5
3
2
0
2
0

0



0



12

7
.
12

7
.
0
T 0 0 0 0 0 0 < 12 > 3 0 0 0 0 0 0 < 12 >
A
< > < > < 12 >
14 <12 > 14
B < 12 >
< 12 >


# . ..
& .. .

37 > 38 39


0
2
3
5
3
2
0




0




0
2
3
5
3
2
0
2
0

..
12
..
H



2
7

0
T 0 0 0 0 0 0 < 12 > 3
A
< >
< 12 > 14 < 12 >
B < 12 >
< 12 >
2
2
< 12 >
< 12 >

#
D.S. al Coda
.. j
& . J ..
> .
40 41
j 42






0




0
2
3
5
3
2
0
0

3
5
3
2
0

..
2. j
H

.
0 2
T

5
0 0 0 0 0 0 < > 12
A 14
< 12 >
< 12 >
< 12 >
< 12 >
B < 12 > < 12 >
< 12 >
2
2 < >

fi Coda U


#

*Sweep Harmonic
& w
w

U
43



2
3
0
3
0
44

T
5
2
4
0
2
4
0
< 19 >
< 19 >
A < 19 >
< 19 >
B 2
2

23
Flatpicking Guitar Magazine March/April 2000
Flatpicking
Flatpicking &
&
Folk/Acoustic
Folk/Acoustic
Rock
Rock
by
byJohn
JohnTindel
Tindel

Little Martha, Part 2 you who learned the first half then and have
been breathlessly awaiting the exciting
Greetings and welcome to this, my conclusion, which is as follows.
first column of the brave new century. If, Lets start by getting back into the open
in fact, we have made it entirely into the E tuning we used in the first half of the
next century of just the last year of this song. Raising the 5th string up a whole In the first part, drag your pick down
one. It depends, I guess, on if you are a step to B, the 4th string a whole step to E, across the three highest strings in the first
counter or a measurer. Counters start and the 3rd string a half step to G#, gives three chords to slightly arpeggiate them.
from one while measurers start from us the same notes as the first position E Be sure to cleanly articulate the triplet
zero. Notice that youve rarely, if ever, major played in standard tuning. Now, sequence that follows, as well as the cool
heard a musician start off a song by saying, go find your ragged, dog-eared copy of descending run ending in the chiming
zero, one, two. . . Regardless, lets leave the aforementioned issue of this esteemed harmonics. Very nice, dont you think?
our exact position on the calendar to the publication and re-familiarize yourselves Watch for the apparent rhythm change
counters and measurers and move on to with the beginning section of the tune. If at this point. The tempo and time signature
the completion of the late, great Duane you cant find it or, worse, dont have it, stay the same but the feel changes to a
Allman song Little Martha, begun in refer to the last section of the bridge, which dotted eighth sort of thing, using pretty
my column last century (Vol. 4, No. 1 is essentially the same as the beginning much the same chord forms as before.
Nov/Dec 1999). My apologies to those of of the song. As always, start slow and get it clean,
then bring it up to speed gradually. I
hope youll have as much fun playing this
melodic instrumental as I have had.
Remember, until next time, that the
more you play, the better you get, and the
better you get, the more you play!
Just out, our newest release, for Lonesome River Band guitarist
Kenny Smith! The book contains standard notation and beamed

Flatpicking
tab for Kennys solos from 2 LRB albums plus his terrific solo
project, Studebaker. Includes 33 solos for 25 tunes with left
hand fingering and pick directions on tricky passages. All
transcriptions were carefully proofed with Kenny. 74 pages
Mercantile
$25.00 (US)

Our first guitar book, for flatpicking monster Tim Stafford. Learn
Tims solos from all 3 Blue Highway albums plus Alison Krauss
Every Time You Say Goodbye. Tab and standard notation for
23 tunes all carefully proofed by Tim for accuracy. Left hand
fingering and pick directions are also included. 54 pages

$20.00 (US)

Slow down those tricky licks using your


Windows or Macintosh computer. With
Transkriber, you can reduce the speed of
any prerecorded music up to 1/26 speed
orde
Your resource for guitar
without changing the pitch. Also features www.acr online! accessories, instructional
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AcuTab Publications P.O. Box 21061 Roanoke, VA 24018 for a free copy.
response@acutab.com 540-776-6822 540-776-6827 (FAX)
24 Flatpicking Guitar Magazine March/April 2000
Little Martha (Part 2)
#
Arranged by John Tindel
# #
Written by Duane Allman
C m A B C m A B7(a dd2 ) C m A B # BC m B A

. .. ... ... .. .. .
# # # # 4 .. .. ..
E

. . . . .
1

& 4 .
.
. .. 77 . 5. 7 7. 9 9 7 7 5 5 .
harmonics
. .. 00
.
.
.. 55
.. 77
0
02 00 7
7
5
77
.. 98
89
77
77
55
55
..
S


. 7

..
9 5

. 12

E 9 5 9
9 5 9 5 9

B
8 5 8 5 8
J J J J J J J R
G#
E

# B A # C #m
B
E

BC m BC m B A
A

.. . .
B
. ..
B7
.. .. .. .. ...
(a dd2 )

####
B7

. .
(a dd2 )

.
6

& . .. ..
. 99 7 7 5 .. .
.. 899
989
777
777
555
555
... 998
... .. 00
S


.. 89
98
77
77
55


.
7

. 12

7 5 7 0 0

E 5
B 7 5 7 0 0 7 5
7 5 7 1 1 7 5
J R J R J J
G#
2 2
J J
E

B C #m B # B A # B A
B
E

A BC m BC m

. .
# # # # ... ... ..
..
.. E

.. 3 . . 4
10
. .
& 4 . 4

.
.. 998
989
777
777
555
555
... 777
... 899
989
777
777
555
.. .
.. 899
998
777
777
555
..
S S S


.
.
. 02
.. 00

E 7 5 7 5
B 7 5 7 5
7 5 7 5 0
J R J R J R J
G#

2
0

E
B
E

#### 4
E
. .
14

& 4 . . . . . .

H H
0

0
0. 0

0
0.
0 1

0 1

1
. 0

0 0 0H 0H 0 0
0 1
1
0
0 1
1
0
0
. 0

E P

0
. 2
.
0
0
.
0 0 0
2
.
B
G#
0 0 0 0
0
0
0
0

E
B 0 0 0 0
E

# # # # n
A E
. . . ww
. n .
18

&
. . ww
. w
H H w
5
. 0


10

0 0
.
5 6

3
. 6
. 5
0
. 0
5H 0 0 0 0 0
6
5
5
6
0 1
0 1

E P

5
.
. 2
.
B 5 5 10 0 0 0 0
G# 0

0
0
0
0

E 0 0 0 0 0 0
B 0 0 0 0 0
E 0

25
Flatpicking Guitar Magazine March/April 2000
Flatpicking Guitar Flatpicking Guitar
Magazine CD
All Back Issues are Still Available Flatpicking Guitar Magazine presents

Flatpicking 97

Featuring 23 of todays best bluegrass guitarists:


Peter McLaughlin Chris Jones Dix Bruce and Jim Nunally
Brad Davis Scott Nygaard David Grier
Jack Lawrence Steve Palazzo Beppe Gambetta
Mark Cosgrove Dale Adkins Norman Blake Allen Shadd
Joe Carr Steve Kaufman Steve Pottier and Sandy Rothman
John McGann George Shuffler Mike Whitehead Gary Cook

Now You Can Hear What


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26 Flatpicking Guitar Magazine March/April 2000
27
Flatpicking Guitar Magazine March/April 2000
Kaufmans
Corner
by Steve Kaufman

Hi friends and welcome back to my ups in the 2nd part of the 1st ending. Since
corner of the flatpicking world. I discussed you have the hammer on and pull off with
this next type of tune at great length with eighth notes you will have to pay attention
our eminent leader, Dan Miller, and came to the pick direction. D-U-D-U-X-U-D-X.
up with a new theme for the next several Down is how the measure will be played
issues: Waltzes and Polkas. These are with the X representing a pick rest.
two of my favorite types of tunes. The The third part has one catch. Measures
waltz allows the player to perfect his or 3 and 7 have some awkward fingerings.
her sustain, tone and taste and the Polka Use the 1st, 2nd and 4th fingers for the
allows the player to concentrate more on 1st three notes and the rest will fall into
the bounce rather than the speed element. place.
This issue will deal with the Polka. The fourth part: This is a part
I have chosen a tune that I became similar to a passage in Clarinet Polka. The
reacquainted with this year called Jesse droning notes on the 2nd and 3rd string are
Polka. The first part is a little lame (basi- to ring out like open strings but the one
cally half notes and quarter notes) so I alternate note is supposed to chop off or
have added a few (maybe a few too many) play staccato. This is two different colors
hammer-on pull-off trill type triplets. You in the same measure and is interesting
may chose to leave some of the trills out and sometimes difficult (Listen to the
and if so, only play the first note of the accompanying FGM CD for the demo).
three (DA instead of da da da) as a quarter I hope you all have fun with this great
note giving it one full beat. The chord number. I look forward to seeing you all at
structure of this tune has been charted in the Kamp this summer and thanks to FGM
its basic form. We could spend an entire for their Flatpicking Kamp support. Added
issue going through the chords because to this year is a visit by Doc Watson and
it allows plenty of space for moving or David Grier. This will be a blast!
passing chords. Let me know how this one goes... Bye
The first and second parts should not for nowSteve K.
pose much threat. Watch our for the down

28 Flatpicking Guitar Magazine March/April 2000


Jesse Polka Arranged by Steve Kaufman

# ..
G G G D7 3

c
3 3

&
# n # # b n
3

0
23
0
0


4
3






4






2

0
0 2 0 020 0 4 2421
2 3

#
3 3
Am7 Am7 D7 D7 G D7

&
# # n #




4




4
2
4
0
4
2
0
0
2
0

3 3


0
2
4

4
4
3

2 020 0 020
2 3

#
#
3 3
G G7 C 3 C C G E7

& #
#
0
2
3




4
0

3





4
2
4
0
2
0
2
0
0

0
0
2
4

0 3
020 2 2 020
2421 2

# A7 D7 1 G
..
2 G G
n .C
& n # .
# n w






3
2
0
0

3
4

0
2
0
3
2
0

4
3

4 2 0 2 0 2
3 3


C F F G G7

& # #



3
3
2
3
3
2
1
2
3

0
0
0
2
0
1
3
0
2
0
2
0


3
3

0 2
2 3
3

29
Flatpicking Guitar Magazine March/April 2000
Jesse Polka (cont)

3 3
C C C C7 F

&





2
0

3 3
1 1310 010
2
3


2
2
0
2
2
0
2
3
0

3
3
2
3
3

3
3
3
3

0 2


F G7 G7 C
.
1

& b n # b n b # .






0
0
0
2
0
1
3
0
2
0

2
0
0

0
1
2
1
0
2
3
4

0 1

2 1 2 3

#
C 7 D7
. # . G

G D7

& #
2C

.

0
3

3
2




. 0
2

3
0

2
5
2


2
2
3

0
4

1 2 3 0 3
0 0 2

# G G

G
D7
..
1 G

&
b
0
0
3
2
0

3
0
0
3
3
0
3
1

0
0
2
0
5
2
2
0

0
0
0
2
0
4
0

3
2
3
4
3

#
G

J .. #
2 G G G Am

&





3
3
3
5
3
3
3
3
3
3
3
3
3
2
3
3
3
3
3
2
3
3
3
0
1
1
0
2
3
0

J
3 3 3
0

30 Flatpicking Guitar Magazine March/April 2000


Jesse Polka (cont)


# Am

G
b n
D7 D7 3 G

&




1
1
2
2
0
2
3




3
2
3
0
3
0
3
0
3
7
3
3
3
5
3
3
3

5 3 2 2320
5 5 5 5 5 5

# G # C # 3 C#

G G7 3 C

&

3
3
3














4







3
0
7

3 3
3 3 0 2 5 3 2 3 2 3 4 5 0 2 0 0 5 0 3 5 3 2

# G E7

J ..
A7 D7 1G 2 G

&


7
8
0
3
0
3
0
2
3
5
2
0
1
2
0



4
J
8 3 3 3
0

Flatpicking 99
is now
Available!
Call
800-413-8296

31
Flatpicking Guitar Magazine March/April 2000
By Brad Davis
BRAD DAVIS IS ENDORSED BY SIT STRINGS/COLLINGS/MARTIN/GRETCH/FENDER/PEAVEY/THUNDERFUNK/GIPSON/
ERNIE BALL/BAGGS/WILKINS GUITARS.

THAT LONESOME SOUND fit in a lonesome song solo. I you room to expand and stretch
I've been asked the question, would learn the note map first, the solo giving it the ups and
"How do you get a lonesome the solo and then I would cut downs a good solo should have.
sound on the guitar?" The first some fat from the phrase basket. Good luck with "Lonesome Pie"!
thing I answered was"feel Pick and choose some
lonesome and you can play licks/phrases you like and throw To receive a free catalog and to
lonesome,"but it's not that easy. the rest in your rainy day file. get on our confidential mailing
To play something lonesome I The more sparse the more list write to us or e-mail your info
would slow down the song and lonesome it usually sounds. D to: BDM Publishing / Box 890 /
then choose a chord/key that happens to be a great key and the Madison, TN. 37116.
would help it along. For example: minor keys (Gminor, Eminor, Email:bmpublishing@home.com
"Lonesome Pie" is played in the Aminor to name a few) also Or simply phone us at:615-262-
key of D and the low E string is sound very lonesome and sad. If 5066
D-tuned to give a nice low D note you're observant you'll find many
to the playing field. The tempo is of these slow and bluesy licks are DON'T FORGET TO GET YOUR FREE
slow and usually few notes are simply fast licks used in regular LESSON AT: BDMPUBLISHING.COM ( I
best. This version of "Lonesome everyday flatpicking. They are will try and have a new lesson for Feb.)
Pie" has more notes and licks just slowed down and stretched
than I would normally play, but I out! Starting a lonesome solo in LOOK FOR BRADS' BAND
felt it necessary to include more the lower string register is also a WHITE WATER ON TOUR
licks and phrases so you guys good starting plan and can give
could see what kind of licks will

Lonesome Pie written by Brad Davis bdm/BMI

Key D
Line 1 - INTRO part 1a-D F
H B P
1
2
3
4 0 0 0 3 0 3 0
5 0 3 5 3 0 3 0
6 3 5 3
1 + 2 + 3 + 4 + 1 + 2 + 3 + 4 + 1 + 2 + 3 + 4 + 1 + 2 + 3 + 4 +
1 3 1 3 1 1 1 1 1
Line 2 -G D D C
S B B
1
2 3 3
3 0 0 2 0 0
4 3 5 3 0 0 3 0 0 0 0
5 0 3 0 3 2 3 2
6
1 + 2 + 3 + 4 + 1 + 2 + 3 + 4 + 1 + 2 + 3 + 4 + 1 + 2 + 3 + 4 +
1 3 1 2 2 2 2 1 2 2 1 2

32 Flatpicking Guitar Magazine March/April 2000


Lonesome Pie (con't)
Key A
Line 3-A A D F
P B
1
2 3 3 3
3 5 0 4 0 3 2 1 0 0 2 0
4 5 0 4 0 3 2 3 3 0 0 0 0
5 0 0 3 0 3 3
6
1 + 2 + 3 + 4 + 1 + 2 + 3 + 4 + 1 + 2 + 3 + 4 + 1 + 2 + 3 + 4 +
3 3 2 1 1/3 3 3 3/2 3 3 3 3
Line 4-G D C F G
B S S B
1 2
2 3 3 3 1 0
3 2 0 0 0 3
4 0 0 0 0 3 3 5
5 2 0 0 2 0 2 3 2
6 5 3 0
1 + 2 + 3 + 4 + 1 + 2 + 3 + 4 + 1 + 2 + 3 + 4 + 1 + 2 + 3 + 4 +
1 3 1 1/2/3 1 1 2 2 1 2 2 1 1 1
Line 5 D D D F
P B P
1 2
2 3 3 3
3 0 0 0 1 0 0 2
4 0 0 3 3 3 3 3 0 0 3 0 3 0
5 3 0 0 3 0 3
6
1 + 2 + 3 + 4 + 1 + 2 + 3 + 4 + 1 + 2 + 3 + 4 + 1 + 2 + 3 + 4 +
3 3 3 3 1/3 3 3 3 1/2/3 3 3 3 3

Line 6-G D D C
S B P P
1
2 3 3
3 0 0 0
4 3 5 5 3 0 0 0 0 0 0 0
5 5 0 0 3 3 0 3 0 3 2
6
1 + 2 + 3 + 4 + 1 + 2 + 3 + 4 + 1 + 2 + 3 + 4 + 1 + 2 + 3 + 4 +
3 3 1 3 1 1 1 switch--- 3 3 1 3
Line 7-A A B
D F
S S P P
1
2 3 3 3 3 3 1 1
3 5 6 5 6 1 0 0 0 0 2 0 0
4 4 5 4 5 3 3 3 0 0 0 3 3
5 0 0 0 3 0 3 0
6
1 + 2 + 3 + 4 + 1 + 2 + 3 + 4 + 1 + 2 + 3 + 4 + 1 + 2 + 3 + 4 +
1/2 1/2 1/4 4 3 4 3 4 4/2 3 3 3 3 1 3 1

Line 8-G D C F G
S P S
1 2
2 1 3 3 3 1 1
3 0 2 0 0 0 0
4 3 3 5 5 3 0 0 0 0 3 3 5 0
5 0 2 3 2
6
1 + 2 + 3 + 4 + 1 + 2 + 3 + 4 + 1 + 2 + 3 + 4 + 1 + 2 + 3 + 4 +
3 3 1 3 1 1/2/3 2 3 3 2 3 3 1 3 1

Line 9-D B
D retard
P
1 2
2 3 3
3 1 0 0 2
4 0 3 3 0 0
5 3 0 0
6 5 4 3 0
1 + 2 + 3 + 4 + 1 + 2 + 3 + 4 + 1 + 2 + 3 + 4 + 1 + 2 + 3 + 4 +
1/4 3 3 1 3 2 1 1 3 2

33
Flatpicking Guitar Magazine March/April 2000

Break Time
by Chris Jones
GUITAR S
E
MACHIN

Lonesome Road Blues rendition, and I used some syncopation


in the 3rd and 4th measures to give a hint
The song Lonesome Road Blues of the banjo phrasing, without playing
is definitely one of the classics. What rolls (or installing a Huber tone ring in
is the difference between classic and my guitar).
overdone you may ask? Classics are As Ive said in a previous column,
top-line overdone songs that havent been overdone it is possible to give a flowing feel to a
Installed on
guitars by C ol lings, that much recently, or they are overdone guitar break to a banjo tune without using
Martin, San
ta Cruz,
songs that I really like. crosspicking. Here Ive used arpeggios in
ot her
Bourg eo is &
m ak er s. Lonesome Road Blues satisfies combination with some runs, plus some
respected Made in USA
healthy spaces to give the music (and
the second definition, if not the first. I
included this in my new Creating Guitar myself) a chance to breathe. Theres even a
Solos For Banjo Instrumentals (order now good old Clarence-ism in the 9th measure,
Box 900FP Athens, Ohio 45701 USA and you might receive a free set of used going into the C.
For free catalog call 800-848-2273 Ginsu Knives), although its also a vocal In the last issue, I dealt with trail-
Fax 740-593-7922 www.stewmac.com
tuneprovided you, or someone nearby, is offs,and theres a good example of one
sing the words. It is sometimes also called at the end of this tune. Instead of letting
Going Down This Road Feeling Bad, the final melody note ring (the open G note
ROY CURRY and every now and then its called Love
Me Tender but with a different melody
at the beginning of measure 16) it is used
as the beginning of a run which returns to
Flat Top Specialist and lyrics. that G a measure later. This is a lick that
But I digress. The point is that its a good is usable in all sorts of songs ending on a
tune that makes for a good, traditional guitar G note (maybe even Love me Tender),
Put this CD on
your must have break. There is nothing earth shattering or and it makes a good G-run alternative
list. overly complex in this tab. It is influenced in that spot.
Bryan Kimsey a little bit by the classic Earl Scruggs
Flatpicking Guitar
Magazine

Flatpicking Guitar
1980 National Flatpicking Champion Magazine
1991 National Flatpicking Champion
1996 Merlefest Guitar Champion Storage Binders
Winner of over 40 other Contests
Guest Performer Kaufman Camp 97, 98, 99
High Quality, Durable,
and Attractive
Roy Curry plays Nashville Guitar Co.
Instruments
for more info on the great guitars of Marty Lanham The perfect place to keep
visit the Nashville Guitar Company website your back issues organized
www.nashguitar.com
and protected
TO ORDER SEND $15 (postage paid) TO:
ROY CURRY Call 800-413-8296 to Order
PO BOX 15163
CHATTANOOGA, TN 37415
34 Flatpicking Guitar Magazine March/April 2000
Key of A
Capo 2
Lonesome Road Blues Arrnaged by Chris Jones

# 4
G

# j .
1

& 4

0
2



0
3
0
3





.
H

H
0 1 3 3 5 3 3 0
0
2
0

3
4 3 4
J

#
5 G C G

& # n # n # n
# # n


3
2
0
2
0

P
3
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1
0

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P

#
G
#
9 C G

& #
# n
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1
3
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0
1
3
1
3


1
2

1
0
3

2

0
3
4
0

H P H S
1 3
2
0
2
0
2

0 0

0 0
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# j n # #
13 D G

& n . n
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1
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3
3
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3
. 0
3
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2

Visit
Flatpicking Guitar Magazine
on the
Web: www.flatpick.com

35
Flatpicking Guitar Magazine March/April 2000
JAM TU NE S
Beaumont Rag opportunity to see this high energy band play the arrangement which is transcribed
perform, dont miss it. It is a great show. here at both fast and slow speeds. Then we
In this issues Jam Tunes column On the Flatpicking Guitar Magazine let Travis stretch out a bit on the jam with
we are providing you with Travis Alltops audio companion to this issue we decided Roland. He provides some great variations
arrangement of the classic flatpick jam tune to combine two of our featured artists and on this tune. Those of you with a good ear
Beaumont Rag. Travis was featured in bring Roland White into the studio with can pick them out from the CD. For those
Volume 3, Number 2 of this magazine and Travis. Roland is featured this issue in the of you who dont think you have a good
we also included his rendition of Fickle Masters of Rhythm Guitar column and ear, go ahead and try to pick out Travis
Wind on the Flatpicking 99 CD. so we have Roland backing up Travis on variations anyway, it will be a good step in
Since we last visited with Travis he this tune. We also asked Roland to bring the direction of developing a good ear.
has landed the lead guitar job with Valerie out his mandolin and jam on this tune with Have fun with Beaumont Rag.
Smith and Liberty Pike. If you have an Travis. On the CD, you will hear Travis

Transcribed by Brad Davis Beaumont Rag Arranged by Travis Alltop

j j
4 j
C G C

.. #
1

& 4 .. #

H
.. 10 01 1 3 0




3
0
3
0
4

4

1

1
0
1
.. 02 02

0
1
1 3 1 0

0
3
0
0

0 0
2
0

H
0 0 0 3

2
3
2
J J
2

J
j j j j
C G C

6

& # j j j j

0

2
0

1
2
0
0



2
0
3





2
2

2
0

P 1 1 0
0 0



2 0

J J J J
2 2 0 2 3 0 1 2 2 2
J J J J
3


# j
G C C7 F
11

& # J
J J




3
0
3
0
0
0

1 3 1 0
4

4



4

0 0 5 3 0
1
1

1 1
3
3
0
2
0
0
2

1 1

3 J 0
2
3

J 3
J 0
2

36 Flatpicking Guitar Magazine March/April 2000


Beaumont Rag (cont)


C G C G


16

& # # j j
# #
3
0
3

3 0

P 0 0 0
3
0


0
1
2
0
2
0
2
2
0
0
2
0
2
2
0

1 1 1
3
4
2
2

0 0 0
3
0
3
4

S
2
J J
C G C
21

& j j j j
#
1
1

P P
0
2
0
2
0
0
2
0
2
0
2
0
2
0
0
2

H
1

3
3

3

3

3
1
2
2

2

2

2

0 0 0 S 0 0 0
J J J J

j
C G C C7

.
26

& . j j # ..

J #
j ..
3.
3.
0 0H



1 1 1
0

2
0
0

2 . 2
2
0
2

.
0 0 0 2 3 3
J 1
2
2
2
2
2
3
3
3
0

.
S

3
J J J
3
J

# n # n
F C G C
31

& J

J
3
5
3
6
5

4
5
3
5
3
1
3
3

3
5

S S S S
1H 1 3
0 2

1 1 1 1
3
3
3

2
J 0

2
J

3
3

Ending

# # n #
35

& # n

8
5
3
0
5
3
0
3
2
1

4
4
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1
1

S
0
2
0
2
0
0

H P 1
0
2
1
0

0
3

2
3

37
Flatpicking Guitar Magazine March/April 2000
Foley Guitars by
Ron Baumann

What do Bill Monroe,


George Strait, George Jones, Los Angeles, and New York
Joe Diffie, Eddie Raven, Char- studio pros were using them
lie Daniels, and John Pearse and praising them in superla-
have in common? Answer: tive terms. I was ashamed
They are but a few in a long list that I had been so unaware.
of professional clients of Ed It turns out that the luth-
Foley, maker of high quality ier, Ed Foley, is a native of
acoustic guitars. my homestateNew Jersey.
I first became aware of When my friend, Rich,
Foley Guitars when I saw invited me to accompany
George Strait and The Ace in him the next day to Ed Fol-
the Hole Band perform on a eys workshop, I was over-
TV broadcast of the Country joyed. What follows are a
Music Awards in 1997. Both few excerpts from my con-
George and his guitarist, David versation with what one of
Anthony, were playing acoustic the pros called, The master
guitars that were some of the guitar maker of the future.
most distinctive I had ever
seen. Always interested in the Ed, how did you come to
brands of guitars used by the start making guitars?
pros, I was curious to know Working with wood is
who made those guitars with a family tradition. My back-
the distinctive steer skull inlay ground is in woodcarving,
in the headstock. I would have woodworking, and restoring
to wait a year for the answer. antique furniture. A tour of
My next encounter with the Martin factory inspired
Foley Guitars occurred in my local guitar Luthier Ed Foley me to make my first guitar. I sold it when
store. Through good fortune, I stumbled someone made me an offer I couldnt
upon a newly arrived pre-owned guitar. new Engelmann/rosewood/koa OM size refuse. Then I made another, and from
The guitars original owner had passed guitar which also had that unforgettable there it just snowballed.
away, and the guitar was being offered for steer skull inlay on the headstock. The
sale for the very first time. To my astonish- guitar was of exquisite beauty and had I was floored by the comments of the
ment, on the headstock was the very same an awesome sound. Rich showed me a pros who play your guitars. Theyre
steer skull inlay that I had observed on Foley Guitars information packet which saying that your guitars are the best
TV one year before! I requested that the contained a slew of letters from Mr. Foleys looking, best sounding guitars made
store owner allow me to replace the ancient clients thanking Ed for what he had done today, as well as being very easy to play.
strings that were on the guitar. When I for them. I was astounded by the sheer How do you do it?
strummed the guitar with the new strings, it number of Ed Foleys professional clients, I use only the best materials and person-
almost blew the windows out of the store! and their outrageous comments. ally hand pick the best woods. Choosing
I bought the guitar on the spot, then ran out Founder of Groove Tubes Electronics, and voicing the top are important aspects
the door before the owner could change Aspen Pittman, called Foley Guitars by in achieving the sound I want. I go right
his mind. far the best sounding guitars on the planet! to (famed Tennessee luthier and supplier)
Inside the guitar were a serial number Bill Monroe said, Ive heard a lot of guitars Ted Davis house to get my wood. I go
and signature of its maker, E.A. Foley. in my life, as you can imagine. But when I through thousands of tops and may only
The mystery was unfolding. But it was not heard that Foley, I had to have one! John choose three or four percent of the tops
until I was freelancing on harmonica with Pearse, of Pearse Guitar Strings fame, said I test. I wont use a top unless it rings
New Jersey acoustic blues and ragtime that no guitar he owns compares, in tone or for five seconds when I tap it. They are a
fingerpicker, Rich DiPaolo and his band, looks, to his two Foleys! Merle Haggards quarter inch thickthats pretty good for a
The Booglerizers, did the final piece of the lead guitarist, Redd Volkaert, said that his quarter inch piece of wood! Then during
puzzle fall into place. That night, Rich was Foley OM eats his other guitars alive! construction, I individually tune and voice
debuting his new pride and joya brand The accolades went on and on. Nashville, the woods, and work with a lot of care.

38 Flatpicking Guitar Magazine March/April 2000


Because I do all the work myself, I have Anything else special about your
total control over the finished product. braces?
I DO use a special brace pattern, but
How many different models do you its based on the basic pre-war type that
make? Martin originated. I hand-carve and tune
I work with my clients to make anything each brace to compliment each individual
conceivable; but if a guitar that Im building top. My back braces are often thin and
isnt a custom order, Ill usually build one high, and flexible enough to be rung like
of the standard size dreadnoughts, OMs, a washcloth. But they dont move at all
jumbos, and cutaways are popular. in this direction (demonstrates by pushing
against the back of a brace). Although
How long does it take for you to make theyre strong, theyre very flexible and
one guitar, and how many guitars do allow a lot of movement in the top and
you make a year? back. In fact, sometimes people pick up
Those are some of the most common my guitars at shows, and say, Wow, this
questions at the guitar shows, yet I still guitar is vibrating already!
dont know how many hours I put into a
single guitar. I work on several guitars at a What materials do you use for nuts and
time, and each one is unique. Construction saddles?
usually takes several months from start I always use unbleached bone, unless
to finishbut I once made a guitar in a otherwise specified. I feel unbleached
week for a friend who wanted a bare-bones bone is stronger than bleached, and I like
guitar with one coat of lacquer (laughs)! the color too.
I make about fifteen guitars a year, and
right now Im working on guitar numbers What kind of bindings do you use?
in the 190s. I think ivoroid and tortoise bindings
are the most beautiful way to protect the
How do you achieve the beautiful finish edges from damage. I dont think wood
that your guitars are known for? bindings look quite as good, and they can
More important than the type of lacquer even crack if they take a hard hit.
used, is that the finished coat be as thin
as possible. I apply five separate coats What scale lengths do you employ?
of lacquer, sanding in between each coat. I usually use a long scale (25.4 inches).
And I dont use grain filler. Instead, I use A long scale positions the bridge further
a clear sealer that enables you to look deep into the lower bout; I think that improves
into the grain. Although the finish is thin, it the sound. Short scales (24.9 inches)
looks much deeper than it actually is. certainly have their place, and if a player
wants a short scale guitar, Im happy to
Is a new Foley Guitar covered by a oblige.
warranty?
All of my guitars are covered by a five What type of wood do you use for your
year transferable warranty. bridge plates?
Ive used maple bridge plates in most of
There has been a lot of talk lately on my guitars, and Ive improved the standard
the Internet discussion list, Flatpick-L, shape to prevent it from touching the cross
about the merits of the tongue depres- brace. Right now Im making six guitars
sor brace located under the top, per- with Brazilian Rosewood bridge plates.
pendicular to the fingerboard. Some
guitar hot-rodders are removing them With all the tremendous success youve
from existing guitars to improve the had in the past using maple bridge
sound. What do you feel about this plates, why would you use a different
brace? type of wood now?
I dont use this brace in my guitars. I want to hear the difference they make
Neither do the vintage re-issue Martins in the sound of my guitars. Ill probably
because they didnt exist in their pre-war use both in the future. I try to make my
guitars. And Ive never encountered the guitars have beautiful voices, not just a
cracking problem that this brace was sup- good sound.
posedly created to address.
What are some of your favorite woods?
Koa sides and back with a Brazilian
39
Flatpicking Guitar Magazine March/April 2000
ment called cryo- real ivory. Since the sale of elephant
genics. Its a pro- ivory is prohibited, what is your source
cess used by rifle of this ivory?
makers to harden I obtain my supply of this ivory from
gun barrels. keys that I remove from old, discarded
pianos. Incidentally, Ive encountered a
What width neck few players at guitar shows who felt that
do you use? the steer skull might connote a cowboy
Because neck guitar. If a client prefers, I can replace
width preferences the steer skull inlay with a different style,
vary from player one that says, Foley, in an attractive
to player, Ill make script lettering.
whatever width
neck the client feels Personally, I think the ivory skull looks
comfortable play- great. What with the tremendous rec-
ing, from 1 9/16 to ognition of all the existing Foley guitars
a full two inches at with the steer skull headstock, that would
the nut. The way be one change Id never request. What
I shape the neck is your current lead time and what is the
though, results in base price of your guitars?
easy playability, I have about a year backlog. Base
Bill Monroe picking his Foley Guitar regardless of price is $2750.
width.
wedge down the center is one of my favor- Considering the sound, not to mention
ites. The combination of the dense, bright Which tuning machine is your favorite? the fact that your guitars are hand-
sounding Rosewood with the woody sound- I like Schallers. They make a precision made of the best materials and crafts-
ing Koa creates a terrific sound. For tuner at a reasonable price. manship available, that seems relatively
tops, I like Adirondack or stiff Engelmann inexpensive. How do you keep the prices
spruce, depending on the type of player. How do you join your necks to the down?
Generally, Engelmann seems to better suit bodies? Almost all of my advertising has been
players who may not play quite as hard; I use a traditional dovetail joint. word-of-mouth. For me, guitar making is a
its also the choice of most fingerpickers. labor of love, and I want to get my guitars
A hard player tends to bring out the best What kinds of glues do you use? into the hands of the players, rather than
in Adirondack. A lot of my instruments are used by price them out of reach.
entertainers, and are transported on tour
What kind of electronic pickups do you buses in the hot luggage compartments, Since your guitars are made of the same
prefer to install in your guitars? where excessive heat can be a problem. So materials as the other brands of guitars,
I prefer not to install any (laughs)! If a for additional durability I use Titebond. what accounts for that outrageous sound
client wants a pickup, Ill install one, but Titebond makes it tough if I ever have your guitars are known for?
I dont have a preference. My focus is in to take the guitar apart for repairs, but it The choice of woods is criticalyou
the creation of a great sounding acoustic stands up to that kind of abuse. simply wont get this quality of wood in a
guitar. I WILL say that I prefer not to mass produced guitar. But its got to be a
use the strip types that lay under saddle, The pros are saying that your guitars combination of everything involved the
because I dont like to interfere with the sound fantastic right out of the box. tuning of the braces; the voicing of the top
acoustic quality of the sound going from Do they sound even better after being and back; the precise angle of the neck-
the saddle to the bridge. played a while? In other words, how to-body joint; nut and saddle height; even
long does it take for the sound of your the finishall these things make important
What frets do you prefer? guitars to open up? contributions to the each guitars unique
Thats the players choice, but I like I try to make em so they sound great voice. You ask a lot of questionsare you
a tall thin fret because I think they have a right away, but there are two reasons why ready to order yet ? (laughs)
cleaner sound. Tall frets also last longer, a guitar sounds better after a few months.
and they require only a light touch when Its true that the sound improves with For more information, contact : E.A.
playing. A thin fret may not last quite as playing as the wood naturally ages. But Foley Box 646 Andover, NJ 07821 phone
long as a wide fret, but my objective isnt its also because as the player gets to know 973-786-6077 fax 973-786-5627
to make guitars that are able to survive a the guitar, his technique adjusts to the
train wreck. I make em to sound good. guitardriving it better, achieving better
Sometimes I work harden frets before tone and volume.
installation, to increase longevity. Im
also looking into a cold temperature treat- Your signature steer skull in the head-
stock is a hand-carved inlay made of
40 Flatpicking Guitar Magazine March/April 2000
THE O - ZONE
by Orrin Star
Shenadoah Falls claimedcontrary to his memorythat below. They are indicated by the > sign
Shenandoah Falls wasnt the tunes in the tab, and they really make the tune
Shenadoah Falls is a beautiful fiddle actual name. come alive.
tune frequently heard at New England So its origins remain a conundrum Double-stop is a term taken from
contra dances. within an enigma . fiddling that describes melodic moves
Its pedigree remains something of a No matterits a wonderful tune. I in which you play two notes together in
mystery. It was first recorded by Vermont recorded it in 1988 on my Fun Songs & harmony. The B part of this tune is full
fiddler Pete Sutherland, who popularized Fancy Pickin Flying Fish album and still of them.
it in traditional fiddle circles. I once take great pleasure in flatpicking it. Lastly, note that the third pair of eight
heard that he had written it as a take-off of Technique-wise, there are two notable notes in measure 16 consists of a strum
Bill Monroes Shenandoah Breakdown elements at play here: rest strokes and followed by an individual notea cool
(which is actually not implausible given double-stops. down-up pairing that you dont see very
the nearly identical chords in the A-parts Rest strokes are the power down often.
of both). But this is not so: he actually strokes that involve angling your pick
learned it from a West Coast fiddler named forward, pushing through the string youre
Carol Robinson. Yet theres a rub: she later hitting, and snapping to rest on the string

41
Flatpicking Guitar Magazine March/April 2000
Shenadoah Falls Arranged by Orrin Star

# 4
G C G D
j .
3

1


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0

G G

16
#
Am
G D 1.

..
2.

&

P


0
3
0
1
3
0
P
0 3
. H 0
2
0
0

0 2
2
2
0
2
0
0
2
4
2
0
.
H H
1 1
0
2

4
0
2

0 2
2

Variation for Measure 14


20
#
&
3

5

4

33
3

2
4 2
0

P
3
H

42 Flatpicking Guitar Magazine March/April 2000


Cajun Flatpicking
Jole Blonde
by Dix Bruce

Jole Blonde of the classic Cajun tunes) Beausoleil has


a modern, energetic sound that has made it
Before we get into this columns main the most popular Cajun band in the world. licks in M7, 14 & 15 almost sound like
subject, the Cajun standard Jole Blonde, The fine guitar playing of David Doucet is boogie woogie riffs. The double stop slide
I wanted to mention a slight typo we a special treat, especially to readers of this in M 16 is another guitar move that borrows
discovered in the last column. Its in the magazine. In addition to performing on all from that typical Cajun fiddle sound.
paragraph that describes how Maybelle the Beausoleil CDs, David also has two The second solo is closely related
Carter retuned her guitar to accommodate solo CDs on the Rounder label. Davids a to the first but includes some different
the Carter Familys vocal range while wonderful flat picker who plays with great technical moves. In M 19 & 27 youll
still allowing her to play the guitar in the taste and soul. find a couple of triplets that I lifted from
keys of G and C. The sentence in question At Arhoolie I also discovered the Savoy- Luderin Darnonnes fiddle solos. If youre
should read: Lowering the tuning on the Doucet Cajun Band, Nathan Abshire, not familiar with them, triplets can be
guitar by 1/2 step results in the key of F#, Cheese Reed, Harry Choates, Amede confusing.
one whole step would yield the key of Ardoin, and many other Cajun greats. To understand triplets, you need to
F, a step and a half would make the key Arhoolies expansive Cajun anthologies and know how to count them. When we count
of E(not A as printed). I bet you already collections present a wide cross-section of a full 3/4 measure of quarter notes wed
figured that out! the Cajun music world. If youre interested think or say One-Two-Three. The same
I spent most of the 1990s working in in string band music, check out Cajun measure with all eighth notes would be
the production department of Arhoolie String Bands (CD 7014) or one of my One and-Two and-Three and. The same
Records. Arhoolie has long been known for favorites, The Hackberry Ramblers Jole 3/4 measure with triplet eighth notes would
releasing a wonderful variety of powerful Blonde. (CD 399). be One two-three, Two-two-three, Three-
regional musics including Blues, Tex-Mex, Jole Blonde is one of the greatest hits two-three where instead of playing two
Zydeco, Cajun, and many more. of Cajun music. Its an old folk melody, eighth notes over every quarter note, we
I was exposed to everything Arhoolie a waltz, thats evolved over the years and play three.
had to offer as music played constantly today is played on a variety of instruments, I know youll find Jole Blonde to be
while we re-edited master tapes, checked in several different keys, with lyric and a useful addition to your repertoire. Its a
test CDs, and previewed new projects. It melodic variations aplenty, wherever Cajun well-known tune with a recognizable Cajun
was a great education for me and over the musicians gather. groove and youll find that all types of
course of nearly nine years I discovered The version below includes two solos. audiences will respond to it. If you would
countless songs, artists, and whole genres The first is a transcription of the guitar like to learn more about Cajun music,
of music previously unknown to me that solo from the CD I mentioned above, The request a catalog from Arhoolie, 10341
I have since incorporated into my own Hackberry Ramblers Jole Blonde. Its
San Pablo Avenue, El Cerrito, CA 94530
listening and playing repertoires. a delightfully melodic solo, probably by
(www.arhoolie.com).
I found Louisiana Cajun music to be Lennis Sonnier. I love the melodic runs
especially interesting and enjoyable. Cajun he put in the solo. They flow so naturally About the Author: Dix Bruce writes about
musics liberal use of fiddle and guitar and connect the different phrases so well. and plays a variety of musical styles from
along with accordion in a basic string The second solo is one I put together using traditional American to big band swing to
band format made it an easy transition a few licks from the first solo along with modern folk and country. He has authored
from the more familiar old time country melodic fragments from different versions over thirty instructional projects for Mel Bay
Ive heard over the years. When I learn Publications. His most recent CDs are My Folk
and bluegrass styles that I knew so well.
a new tune, I always try to have at least Heart, a solo effort, and his new duo project
The rhythm is differentmuch more dance with Jim Nunally The Way Things Are. Dan
orientedand infectious. The singing is in a couple of solos worked up so I have a
Miller considers him a close personal friend.
French and the passion of the performances choice of solos to play at a jam session.
Dix has just completed two instructional videos
I heard made it impossible to ignore. The Hackberry Ramblers play this scheduled for Spring 2000 release for Stefan
I first heard Michael Doucet and Beau- version of Jole Blonde in the key of A. Grossmans Guitar Workshop entitled Basic
soleil early in my Arhoolie days. They Well be playing it out of the key of G Swing Guitar and Basic Country Flatpicking
have several fine CDs on the label. While capoed at the second fret. The hammers Guitar. All of Dixs books, CDs and video
their music is rooted solidly in the Cajun and pulls add a little of the rhythmic flavor are available through Musix, PO Box 231005,
of Cajun fiddling to the guitar solo and the Pleasant Hill, CA 94523 , Toll Free: 1-877-
tradition (they perform just about every one
219-0441. e-mail: Musix1@ aol.com.
43
Flatpicking Guitar Magazine March/April 2000
Jole Blonde Recorded Source: Arhoolie 399 #24
Transcribed by Dix Bruce

# 3
C G


1 Solo #1

& 4
#

0 3 3
1 P H H 0 0




3
0
2
0
2
0
2
2


2

0
1

0 0 0


2
3
0
2 2 2 0
3

0
2

0
2
3


0 2
0

#
D G
6 C

&
#

2

3


2

4
2
0
4
2
0
0
2
0
2

3
0
1
2


3

2 2
0 0 2 0
3

#
C G D
11

&


3 3


4
2
2
4
2
0
4
2
0
4
2

H H 0 0

2
0
2
0
2
0 0




3
2
2
3
2

0 0 0 0
2 2
3

#
G C
16

&
Solo #2
3

# j n n

j j
#

S S
3 3

3

00

0

0

0 H H P H

2
3

0 1



0
3

2
3
2
0

4 4 0 0 0 0

3

0
1
2
J
1
2
J
2 0
2
J


3
#
G D G
21

&

2 3
3 0



3
0
2
0
3



2

H 2 0
2 0
0
2

0
0

2

3
0
2
0

44 Flatpicking Guitar Magazine March/April 2000


Jole Blonde (cont)

#
G C G
26
3
& # n

j j j j

#


0
2

2

0
2
3

0 1
2 1
2 2 0 0
2 0
2 0
3
J J J J 3
3


3
#
D G
30 G

&


2 3 3 3
3 0 0 0

2
0

2

0
2
0
0
0
3

2
0
2
3

0
0
0

0
0
0

3
2 0 0 3 2 2 2

45
Flatpicking Guitar Magazine March/April 2000
Music Theory:
Mastering the
Fingerboard
Technical Studies for Flatpickers.
Alternate and painful fingerings...
by Michel A. Maddux

Hello friends! Here is the second that you can play in any key, anywhere
installment of the first position major on the neck.
scales. You will recall from the previous Clearly, some forms are easier to play Notes of E Major: E Major is one of three
issue that we presented the first 6 (of the in certain positions. You will find that first position forms (F and F# are the other
12 chromatic) scales in first position, from licks and positions seem to go together. two) that provides a complete two octave
G up to C major. We then presented the That is why it is important to try to play scale without a hand position shift.
A section (first part) of the traditional tunes in different keys, and in different
fiddle tune Forked Deer in the keys of positions. Experiment. Try to play any Notes on F# Major: This is a very useful
C and G. of the exercises or tunes in any key, in form. Note that it covers two complete
For this time, we will study the remaining any position. octaves without a hand position shift.
6 first position major scales ( C# through Note also that it is completely closed,
F#), and complete the study of Forked How to Practice: therefore can be moved to any position
Deer in C and G. Remember to break the exercises down on the fingerboard, and used for music in
As always, when you play through into sections that can be mastered. Keep any key. Try it. Put your second finger
these exercises I want you to focus on a the right hand DUDU constant with the on the sixth string on any note, and play
steady right hand movement. Make certain metronome, and accent the first of each the scale.
that each note rings out clearly, with good group of 4 notes.
tone. You should set the metronome at the Now lets finish the work that we
speed that you can play through the entire Notes on C# Major: This form is the started last time with Forked Deer. Were
exercise without faltering. Remember, same one that we use playing up the neck playing the tune in two different keys, C
Quality before Quantity! in G, F, D, and is the same as C Major, first and G. Here is the B section (the second
If a particular scale pattern is already position, except that instead of beginning part) in the key of C.
familiar to you, or seems easier, then on the C, third fret, it begins on the C#, Thats enough for this time. Have fun
increase the metronome speed. Challenge fourth fret. and keep on pickin!
yourself! The ultimate goal is to be able
to play these forms perfectly at any speed, Notes on D Major: Because I presented About the Author:
from the very slowest to the very fastest. the complete two octave D Major form in Mike Maddux has been flatpicking since
Keep reviewing everything. Every lesson the previous article on range extension, 1981. He performs regularly in Colorado
is important. the second form shows an example of an Springs and the western United States with
exercise in D Major that remains entirely his wife Bertye, and The Mike and Bertye
Putting It All Together: in first position. Note also that because Maddux Band. In 1995 he was awarded
The closed position forms (meaning, youre playing this from in 2nd position, third place honors at the prestigious
there are no open strings in the form) can the previous form is also under your fingers National Flatpicking Championship in
be moved to any position. They occur for for D, and you should practice both forms Winfield, Kansas. His CD, OL Banjo,
the first time on the guitar in first position. of D in 2nd position. is available through Flatpicking Guitar
Some of the other forms you will recognize Magazine. Please contact him with ques-
as forms that weve studied, but in first Notes on Eb Major: Most of the time you tions or comments in care of this maga-
position they use an open string. I want you would choose to use the C# form in third zine.
to think about which forms are closed, and position, or the forms that occur in 5th,
therefore could be moved to another posi- 8th, 10th, 11th, and with a cutaway, 13th
tion. The most important thing to realize position, for the Eb. Because of this, Im
about this study is this: All 12 chromatic showing a one octave Eb Major, followed
scale forms occur in first position. In fact, by an exercise in Eb that uses all 6 strings
all 12 chromatic scale forms can be played in first position. Note that at the point you
in EVERY position on the fingerboard. slide the little finger to the 6th fret, you
Think about that for a moment. That means may choose to descend using the C# form,
instead of returning to the first position.

46 Flatpicking Guitar Magazine March/April 2000


C# (Db) Major first position. Repeat 8-16 times without stopping:
#### # 4 .

1

& # # 4 . .. ..

.. 1
2
4
2
1
.. .. 1
2

1
3
3
1
1
3

4

3
4

1 4
3
1

1
3
4


4
#### # .
& # #
.
1
2
4
6
8
9
11
9
8
6
4
2
1
4
2
1

4
. 121
3
1
.
4
3
1

4
3
4

D Major first position. Repeat 8-16 times without stopping:

## 4 .
1

& 4 . . .
. .

0
0
2
3
5
3
2
0

.. 0
2
4
0
2
0
2
3
3
2
0

2
0

.. .. 0
2


0 2 3 3

4
2
0
2
4

##
5
..
&


2
0
.. 32
2
2
0

4
2
0
0
2

4
2
0
0
2
4
2
0
2
4

0
3
2
0
2
3
2

Eb Major. Repeat 8-16 times without stopping:

1
b 4
& b b 4 .. .. ..

1
1
3
4
6
4
3
1

.. 0
1
3


1 3 4 4
3
1

3
1
0
.. .. 0
1
3


1 3 4 4

1
3
3
1
3

b
..
5

&b b


3
1

.. 431

3
3
1
0
0

3
1
0

3
1
0

3
1
1

0 1 3
4
3
1
3
4

47
Flatpicking Guitar Magazine March/April 2000
E Major. Repeat 8-16 times without stopping:

# ## 4 .
1

& # 4 .
.. ..


..



.. ..

4
1 2 4 2 1

4 2 0
4
2



0
2
4
0
2
4
1
2

# ##
4


& #



0
2
4
2
0

0
2
4
4
2
0

.. 012
0
1
2
2
1

4
4
2
1

4
2
0

4
2
0

F Major. Repeat 8-16 times without stopping:

4
1

& b 4 .. .. ..

..
3
2
0
.. ..
0
2
3


1
3
0
2
3

0
3
1
0
0
1
3

1
3
3
1
3

b
&


0
1
3
1
0

1
3
3
1

..
1
0
2
3
3
2
0

1
3
2
0

2
3
1
0

3
3
1
0

3
1

F# Major. Repeat 8-16 times without stopping:

1
#### # 4 . .. ..
& # 4 .


..
4
3
1
.. ..

3
4
1
3
4

1
1
2
4
4
2
1
1
2
4

1
2
4
4
2
4

4
#### #
& #


2
1

2 4


4
2

1
3
4


..
1 2 4 2
4
3
1

2
4
3
1

3
4
2
1

4
4
2

4
1 2

48 Flatpicking Guitar Magazine March/April 2000


Forked Deer - B Section: Key of C Traditional: Arrangement by Mike Maddux

G C

4
1

& 4 # #


4
S 5
0
0
4
2
0
0
2
0
2
0
0
0
4
0
0
2
0
2
0
1
2
0
3
2
0
102
0
2
3

G C F G7 C

& #

0
3
0
0
0
1

0
0
2
0
2
0
2
2
0

1
4

2
0
2
3
3
2
0

S 0
3
2
3

5
3

2
3

Forked Deer - B Section: Key of G Traditional: Arrangement by Mike Maddux

# 4
D G
1

& 4
#


4
S 5
0
4
4
2
0
4
2
0
2
0
0
0
2
0
4
2
0
2
4
0
2
0
3
2
0
200
2
3

D7
#
D G C G
5

& #


3


2
0
4
2
0
2
0
2
4

3

4
S 5
0
4

0 4
0

2
2
0
3
2
0
3
2
3

3
0
0
0

49
Flatpicking Guitar Magazine March/April 2000
Masters of Rhythm Guitar:

Roland White by Dan Miller

Roland White is impressive. First there The Early Years


is the career: He was the motivating force The first instrument Roland
behind the formation of his familys band, White learned how to play was
which included his sister Joanne and his the guitar. His father, a fiddle
brothers Clarance and Eric. When Joann player, knew some basic chords
dropped out to get married, Roland, Clar- and runs on the guitar and
ence, and Eric continued as The Country liked to sing old time country
Boys. Later Billy Ray Latham and LeRoy songs like Red River Valley.
McNees were added to the group and, upon Roland picked up what his
release of their first album, the name of father showed him on guitar
the band was changed to the Kentucky and learned how to accompany
Colonelsone of the most influential his father on a few fiddle tunes
bands in bluegrass music history. After the and accompanied his and his Roland White with the Whitebook guitar
Colonels went their separate ways, Roland sisters singing. He had yet to which was owned by Clarence
moved on to play guitar with Bill Monroe be exposed to bluegrass music,
for nearly two years. He left that job to so his only examples came from his father, Roland began buying as many as six
play mandolin with Lester Flatt and the his uncles, and the occasional performer he new bluegrass records a week from a mail
Nashville Grass. After playing with Flatt would see on television such as Ray Price order house and the Whites tried to learn
for four years, Roland reunited with his and Jim Reeves. Roland said, My only several new songs a week. They would
brothers and went back on the road as the exposure to guitar players were those who listen carefully to all of the parts, Roland
New Kentucky Colonels until Clarences would play to back up their singing. would type up the lyrics, and they would
tragic death in 1973. He then picked up Later, Roland tried to learn how to play pick apart the instrumental breaks. This
his guitar again and joined Alan Munde, the fiddle but became frustrated because practice spilled over into their days as the
Byron Berline, and Roger Bush in Country his fathers full size fiddle and bow where Country Boys and the Kentucky Colonels.
Gazette and stayed with that band, in its too big for him to manage. His father They spent a couple of hours each evening
various confingurations, for 13 years. In brought home a tater bug mandolin and learning songs, sometimes learning one new
1989 Roland joined the Nashville Bluegrass showed Roland that the notes were the song every night. They learned songs from
Band as the mandolin player and still holds same as a fiddle, but it was played with a Monroe, Flatt and Scruggs, The Osborne
that position today. Wow!The Kentucky pick. Roland found the mandolin easier to Brothers, Jim and Jesse, The Stanley Broth-
Colonels, Bill Monroe and the Bluegrass manage and began his mandolin playing ers, and Reno and Smileyany bluegrass
Boys, Lester Flatt and the Nashville Grass, career. However, he never gave up the band that had a record out.
The New Kentucky Colonels, Country guitar. When asked about his guitar influences
Gazette, and the Nashville Bluegrass When Roland was sixteen his family during these formative years, Roland said
Bandvery impressive. moved from Maine to Southern Cali- that he would try to work out anything that
As impressive as Rolands career in fornia, where he first learned about blue- sounded interesting. He liked working
bluegrass music has been, the man himself grass music. The first song he heard was out passing runs on the guitar and points
is even more impressive: his knowledge, Monroes band playing Pike County to Edd Mayfields G-run on I Saw The
his attitude, his outlook, his congeniality Breakdown. The bug bit him and he Light, Mac Wisemans use of runs, Jimmy
and his willingness to share what he knows wanted to hear more of this music. He Martins guitar work, Lester Flatts G-run,
with others overshadow his great career would occasionally hear bluegrass on the and Red Smileys D-run as being among
accomplishments. More than a performer, radio, began buying bluegrass records, and his favorites to listen to and play. Although
he is a mentor and a teacher. Clarence encouraging his siblings to play bluegrass he rarely played the guitar on stage during
Whites big brother has been a teacher, instruments. The Whites had brought a those years, he said he liked sitting around
mentor, and good friend to some of the best guitar, mandolin, and a fiddle, with them the house and playing the guitar. He added
performers in the business. He helped a from Maine. After hearing bluegrass, that Clarence liked to play the mandolin
twelve year old Marty Stuart get a job with Roland got a job at Lockheed so that he at home and he would back up Clarences
Lester Flatt. He sat and picked for hours could afford to buy a bass and a banjo. mandolin playing on guitar. As far as lead
with a teenage David Grier. And after From a very young age Roland knew he guitar playing goes, Roland said that Don
spending nearly fifty years in the music wanted to play music and be in a band but Reno was influencial and he and Clarence
business, he is still exploring, learning, he says, Before we heard bluegrass, we both learned Don Renos break on Country
and teaching. had no direction. Bluegrass music gave Boy Rock and Roll when that came out
us a direction. and he said Earl Scruggs Jimmy Brown
50 Flatpicking Guitar Magazine March/April 2000
the Newsboy was truly amazing. That Monroe full time, he encountered the same spot. Roland said that both he and Vic
and Wildwood Flower were the first two problem he experienced during the show in experienced some difficulty fitting into
songs we featured Clarence on. California. He finally went to Monroe and the band. He said, These guys had been
said, Im having a hard time staying with playing together for years and years. Their
Working with Monroe you. I have all of your records with Edd timing was so perfect. We were just not
Not long after the Whites moved to Mayfield, Lester Flatt, Jimmy Martinwho in the groove. Roland went to Flatt and
California, Rolands father took them to see should I listen to? Monroes reply was, explained his problem. Flatt told him, It
a Bill Monroe show. By the second time Dont listen to those boys, they never takes about a year for a new man to fit into
the Whites went to see Monroe, about a did what I wanted. You just listen to a band that has been together as long as
year later, they had gained some notarity in me. Listen to me sing and listen to my we have. Roland says, I have found that
the local area playing in talent contests and mandolin. Roland says that what Monroe to be true.
radio programs and so during Monroes was after in a guitar player was someone Working with Flatt, Roland said one of
show he called for one of the White boys who could follow his music and put the the most important things he learned was
to come up and do a song with him. runs in the right place. where to put the back-beat on the mandolin.
Roland said, Clarence wouldnt go up, Whenever the band would rehearse back He says that during his years with the
so I went up on stage. Jack Cook handed stage at the Opry, Monroes comments Kentucky Colonels he does not feel like he
me his guitar and I sang Sitting Alone in to Roland would always have to do with had a strong steady back-beat. Flatt taught
the Moonlight with Monroe and backed the placement of the runs. He would say, him how to do that. Additionally, he said
him up on Soldiers Joy. The next That run is not in the right place, or that watching Flatts guitar work, he was
time Monroe came to town the same thing You are doing too much there. If Roland able to figure out where to put in a guitar
happened and Roland got to play a few did something right, Monroe would say, run and where the run was supposed to
songs more songs on stage with the Father That is good there. So through trial and begin and end. He said, Watching Flatt,
of Bluegrass. error, Roland worked hard on improving I was finally able to figure out what Bill
In 1966 Monroe came to California to his guitar playing in the context of Bill Monroe had meant by putting the run in
do a show in Santa Barbara and he did not Monroes band, but he says that in the the right place.
have a guitar player with him. He called nearly two years he played with Monroe
Roland and asked if Roland would like to he never felt he got it exactly right. It Country Gazette
fill in on guitar. Roland played one show wasnt until later, when he worked with, When Roland left Flatt in order to rejoin
with Monroe and said that although he observed, and talked with Lester Flatt that Clarence and Eric in the New Kentucky
knew all of the songs and had been playing he partly figured out what it was that Colonels, he said that he hadnt seen a lot
them for years, he had a really hard time Monroe wanted. of Clarence during the years that he was
playing with Monroes band. Initially with Monroe and Flatt and Clarence was
he felt that he had had such a hard time Learning from Lester doing studio work and playing with the
because, although he knew the songs, he Late in 1968, Roland saw Lester back Byrds. The reunion gave the brothers a
was not really a guitar player and hadnt stage at the Opry, told him that he was chance to talk and catch up on things. One
practiced them as such. He later told going to give Monroe notice the first of of the things that they talked a lot about
Clarence about the experience and Clarence the year and asked Flatt about a mandolin was music. Clarences guitar playing
said, That is a hard gig. It would have job. Flatt and Scruggs were still together, had definitely changed and matured over
been hard for me too. It would have been however, they did not have a mandolin the years and although the experience
hard for anybody. Roland explains that player in the band at that time. Flatt told playing electric guitar had something to
he now realizes that the difficult part about Roland, Keep this under your hat, but do with that, Roland says that Clarence
it was that every band is different and has soon after the first of the year there will would listen to every instrument for ideas
a different feel. For a new musician to be a lot of changes. We might could use a and inspiration. He listened to horns, he
step in fresh with a group that has been mandolin player. Monroe talked Roland listened to Josh Graves, Don Reno, Earl
playing together for years is always going into doing one last tour in Europe with Scruggs, Doc Watson, Django Reinhardt,
to be difficult. the band in January of 1969 and Roland fiddle players, etc. If he heard something
In 1967 Monroes guitar player, agreed. When they got back from the tour, on a horn that gave him an idea, he would
Doug Green, left the band to go back to Roland called his wife from the airport. work with it. Roland recommends that
college. Rolands friend Lamar Grier was His wife told him that Flatt had called players Get information from various
playing banjo with Monroe at the time and while he was away and wanted him to sources, process it, and then make it work
told Roland about the opening. Roland come play mandolin with his band. Roland for you. He continues, Listen to what
approached Monroe about the job and said, said, With Flatt and Scruggs? His wife Monroe, Flatt, Scruggs, and Chubby Wise
You know where I am at on the guitar. said, Havent you heard? They broke did together. Listen to the Stanleys. Listen
Id like to try the job so I can learn more. up. Roland said, I dropped the phone. I to Reno and Smiley. It is all bluegrass, but
Monroe told him, I want a man who will couldnt believe it. it is different. There is a different texture to
learn my music, not a hotshot guitar player. Roland and Vic Jordan both left Monroe each bands music. Listening to any good
A hotshot is going to play it his way. I want and joined Lesters band. The band was music will open your mind.
a man who will play my music. As long as exactly the same as the Foggy Mountain Rolands next guitar job was with
a man keeps trying, he has the job. Boys band with Roland coming in on the Country Gazette. To prepare for that
When Roland began playing with mandolin and Vic Jordan taking the banjo job, he brought out the tapes he had of
51
Flatpicking Guitar Magazine March/April 2000
his Clarance and listened to him to get Rolands wife, Diane, summarized that they have a good point of reference
ideas. The unique aspect of this band (Alan Rolands rhythm playing as follows: and can get some bite into the downstroke.
Munde-banjo, Byron Berline-fiddle, Roger Rolands guitar playing is organic. Its He also teaches that almost every note of a
Bush-bass, Roland White-guitar) was that hard to dissect into mechanical com- run should be executed with a downstroke
there was no mandolin player. Roland ponents because it is flowing and chang- of the pickeven if the run includes eighth
says, Without the mandolin, there was no ing. Rolands playing has dynamics that notes. Roland says, Down-up picking is
back-beat except for Rogers occasional move with the song and support it. He good for lead playing, but when you are
bass slap. I had to do more of a back beat understands that the emphasis can change playing rhythm runs, the majority of them
with the guitar, but I tried not to make it to throughout a song. There are times to need to be downstrokes. Clarence played
obtrusive. I put in a good back-beat with emphasize the downbeat and times to some up-strokes on runs, but the upstrokes
a little shuffle. emphasize the upbeat. He knows that there were almost implied. He rolled off of them
Roland says that his guitar and mandolin is a role for the guitar in creating a rhythmic lightly. That is one of the secrets of his
playing has been different with every band and harmonic texture in a song that is rhythm playing. There were upstrokes, but
he has played in and it is still different separate from the parts played by the bass the downstrokes were what was empha-
today. He says that he still sits down and and mandolin. He listens for the weight sized.
thinks about it and is always experimenting. of the various instruments in a band and When intermediate or advanced players
He says, When you think you know it knows how to help distribute the weight so come to Roland for a lesson, he will
allthink again. that the feel is right. He understands that first have them play through a few songs
to consistenly whack the guitar hard on accompanying Rolands mandolin. He
Rhythm Guitar Philosophy the backbeat, imitating a mandolin chop, listens to what they are doing and makes
While Roland is primarily known as can unbalance the weight of the band and suggestions for improvement. He says
a mandolin player, his knowledge of the make it unwieldy. He understands that if typically when the intermediate students is
guitars role in bluegrass music is extensive. you play too many bass notes or runs in asked to demonstrate runs, they will play
It is something he has studied and worked the same places in each measure the tune too much and will use too many down-ups
hard at over the years. My conversation becomes rigidly bound and cant flow. He instead of a majority of downstrokes.
with Roland about rhythm guitar provided is automatically assessing the weight of When asked what final advice he could
me with great insightsthings I had never the musical body the band is creating give to players intent on improving their
been aware of or thought about as carefully and able to do what it takes to make the rhythm guitar playing, Roland said, Stay
as he has. My ideas about what the player bodymove gracefully. His main attention, away from big jam sessions. You dont
should learn didnt change so much, but playing any instrument, is to the whole learn anything in a big jam session. When
his suggestions about how they should be weight, sound, texture of the body of the a jam gets too large and you cant hear
learned, practiced, and executed really music, and he can make it dance. people play, you lose control. People tend
opened my eyes. to play to loud and too fast in a big jam.
Rolands general philosophy about Teaching Students Roland encourages playing with others,
playing rhythm guitar is to keep it straight Roland said that when he teaches a but to always keep it in a band context. If
and simple and not to get in anybody beginning student how to play rhythm you are going to have a jam, it is best to
elses way. He says that when you play guitar, he shows them basic chords, strums, only invite one fiddler, one banjo player,
the boom and the chick in the boom- the boom-chick rhythm, and simple bass etc. That way it is manageable and you can
chick rhythm, you should not focus on, runs, as part of the curriculum, but what learn something instead of playing too fast,
or over-emphasize, the boom or the he mostly focuses on is technique. He too hard, and too loud. You want to learn
chick. The bass has the down-beat teaches them how to cleanly chord the how to compliment the band. You cant do
boom covered and the mandolin is guitar with the left hand and emphasizes that if there are too many players.
executing the back-beat chick. The key right hand technique. He says a common Another point Roland made was that
is to be right there on both the boom and problem with beginners, and even some he feels it is helpful to watch other players
the chick, but not be in the way of the intermediate players, is that the right hand play. He points out that some of the rhythm
bass or mandolin, and then also be able to swing is too wide. He teaches his students guitar pioneers, such as Doc Watson, Mac
fill-in between the boom and the chick. how to economize the right hand strum Wiseman, Charlie Waller, Jimmy Martin,
He says, The guitar has a role at both ends so that it becomes very efficient. He also and Jim McReynolds, are still out there
and in the middle. teaches his students how to loosen up and playing today. He encourages players
Concerning bass runs and passages, relax the right hand and use wrist motion to get out and watch some of these early
Roland says that the most important things in the execution of light and slow strums. pioneers who have had a influence on all
to learn are when, and when not, to execute Roland breaks the beginning student in on of todays great players.
them and when they should begin and end. a simple song and moves through it one
He says that placement and duration are step at a time. He says, I pick a song as Roland White can be contacted through his
the key aspects of bass runs. He feels that familiar as Will The Circle Be Unbroken website: www.rolandwhite.com. He teaches
most intermediate level players use too that has a simple melody. lessons at his home in Nashville and also teaches
when he is on the road with the Nashville
many runs. The basic guideline is to never When he begins teaching runs, he teaches
Bluegrass Band. If you are ever in Nashville,
cover up a vocal line and dont take away simple runsone run at a timeand or if the Nashville Bluegrass Band is coming to
from the soloist. Roland says, You do not encourages the student to lean into the high your town, send Roland an email and set up a
want to disturb anything. E string with the pinky and ring fingers so lesson. You wont regret it.
52 Flatpicking Guitar Magazine March/April 2000
Gospel Guitar
with Harold Streeter

Blessed Assurance
Among the abundance of gospel songs First, because of the many crosspicking
weve all grown to love, many of our phrases scattered throughout, its best to
favorites are waltzes - well, lets just say, adhere to the usual or normal approach
songs in 3/4 time, because one may not of playing notes occurring on down beats
always wish to dance to gospel numbers. with down strokes and notes on up beats a departure from the melody and original
While this column wont always focus on with up strokes. progression than do the others.
3/4 time gospel tunes, the first column Next are two examples of contrary Next, lets deal with the funny chord your
most assuredly did with Amazing Grace, motion to call your attention tothe term accompanist is supposed to play, written
and this one does as well with a wonderful for a line (in this case, the melody) which above substitute measure 37: G7b9/G#.
gospel piece that dates back to around ascends while another line (in this case, the The first part of its name, G7b9, is a jazz
the turn of the century called Blessed bass) descends simultaneously. Contrary sentiment. In terms of sound, particularly
Assurance. Its a tune that continues to motion is a great way to add interest to for guitarists, 7b9 chords are synonymous
make the rounds wherever gospel music is measures in need of it, and the examples with diminished 7th chords, and just like
sung and played, particularly if the singing occupy the 1st and 13th measures of the diminished 7th chords, they reappear every
and playing is in bluegrass and country second verse (measures 25 and 37). three frets, up or down. As to the second
music settings. Lastly, the two measures at the end. part, the Slash-G# doesnt mean you are
Blessed Assurance is arranged What we have here, for lack of a better somehow magically supposed to play two
here predominantly in Carter style, with a term, is a delayed hammer from second chords simultaneously. Because G# (or
little crosspicking thrown in to help keep string open to first fret to provide a little Ab if you prefer) is the flatted 9th of the
it interesting, plus a few chord/melody steel guitar effect. To execute it, first play G scale, it just means in this case to place
phrases for those instances involving the second string open and then the note on the flatted 9th in the bass. Incidentally, in
melody on the high strings. Originally a the first string 3rd fret. After youve played this context, because the chord resolves to
five chord piece (in this key: C, F, D7, G7, the first string, then complete your hammer Am7 in sub-measure 38, it could just as
and Dm), a few liberties have been taken to the first fret, which should coincide with easily be thought of as E7b9three frets
here and there with the chord progression the first beat of the very last measure. If down from G7b9, because thats what E7,
- influences from a great piano rendition I that sounds like double-speak, the CD for and by extension, E7b9 chords do; they
heard some years ago by someone whose this issue should clear up any shortcomings resolve to A chords, major or minor.
name, due to early senility, escapes me. in the language department. Finally, just to end with a commercial, if
Added are not only occasional Am and Em Now for the substitute measures. Theres youd like a free catalog of flatpicking and
chords, but a rather strange looking one in twelve in all and theyre included to lend fingerstyle tabs, just write to me at 4950
the substitute measures called G7b9/G#. more variety to the piece just in case youd East 20th Ave, Post Falls, ID 83854.
Well get to the funny chord and to the like to play through it twice. In terms of
substitute measures after discussing a few chord progression, notice that substitute
other things worthy of mention. measures 36 through 40 provide more of

Gary Brewer Doug Rorrer John Lowell


Flatpicking 99 Wyatt Rice Peter McLaughlin Rob Pearcy
Hear What You Have Brad Davis Dix Bruce Travis Alltop

Been Reading Roy Curry John Moore Robin Kessinger

20 Tunes by 20 of your Ray Craft Jim Hurst John Chapman

favorite artists
Tim May James Alan Shelton Cody Kilby

David Grier Tony Rice & John Carlini

53
Flatpicking Guitar Magazine March/April 2000
Blessed Assurance
Arranged by Harold Streeter
First Verse C F C

3
1

& 4 ..

1

0 0

.. H 1
1
1
0 0 0 0 0 0
0
0
0
0
0
0
0
2
0

H
1 H 1 1 1 1 1
0
2
0
0
2
0
3

0 0
3
3

C Am Em D7

6

& #


0 0
0

0 0 H P
0
0
0
2
2
0
0

0

2
0

H
H 1 H 0 0 0
0
2
2
0
2
2


4
2

0 0
3
3
0
3


G G7 C


11

&
# n

3 3

0 0 0 0 0

0
0

0
0
0
0

1

0
P H H P
4
3
0
2
0
2
0
0
2


3

H P
0 0 0
3 2
3

3 0 2 0

F C 3 F


16

&

0 0
0 0

1
1 1

0
2

2
0

0
0
0
2
0
0
0
0

2

H H P
1 1 1 1 H 1 P 1 1

3 0
2
2
0

2
3

0
3
3

Second Verse


Dm G7 C


21 G7

&
# n

1 1
0 0
0

0
2
0
0
0


4
2

3 1 H 1 0
0
0
0
3
0
2

0 0 0 0
3
2
3
2
3

2 3
3

54 Flatpicking Guitar Magazine March/April 2000


Blessed Assurance (cont)
C Em F C


26

&

0 0

0 0 0 0 0

H
1

0
1
0
1
0 0
0
0
0
0

2 0

0

2 0

1
0

1
0
2

3
3 3

C Em F Dm Em D7

30

& # #


0

0 H
1

1
0


1

4
0

0 2
2
2
2

0

4
2

H
0
2
3
3
3

0 0 0 0 0

2
2 3


G7 C Em


35

& # n .. J
.


1
3
3
0
3

1

3 3 0 0 0 0
0
0
0
0
5
J

0 1 1 0 0

0
3 3
3
4
3

0
2 2

0 0 0


F C F

40

&

0 0
0 0

0

0
2
0
0

0
0
0

1
H
1 1 1 H 1 P 1 1

2
3
0
0
2
2
0

2
3

0
2
2
3
2 2


Dm G7 C Fmaj7 C

.
45 1.

& .



1

1 0 0 0

0 0 0
.

3

1 1
0
0

1
.
H H

0
2

3
2

0
0
3

0
0

0
2 2

0
2
3
3
0 2

0 0

55
Flatpicking Guitar Magazine March/April 2000
Blessed Assurance (cont)
Substitute Measures for Measures 7 through 9


C C

j
50 2. C Am Em

& j

0




0


3
0

0
0
7

5

0

H 1 0 0 0

0
3
2
J
0
7

7

7 7

0
7

J
#
Substitute Measures for Measures 11 and 12 Substitute Measures for Measures 36 through 40


G G7 G7 G7-9/G Am7


55

& #

3
3 3
3 3

1
3
3
5
6
5

H P
3 3 3
0
0
0
0
0
1
2

5

0 0 0 S 1 3 5
5
5

P
3
2
0
2
3

4 5
3
0

Substitute Measures for Measures 43 and 44


E m7 F C F


60

&
# n
0

0

0
1 1

2



3

H P
7

1 1 1
5
3

1
2
0

0 2 2 0
7
3
3
2

0 3

The Bluegrass Guitar Style of


Charles Sawtelle
CALL
1 (800) 413-8296
to order with Mastercard or Visa

In addition to the tablature and standard notation of 27


Sawtelle solos, this book also includes:

Detailed Sawtelle biography, An in-depth interview with Charles, Section on Charles


rhythm style, Charles Sawtelle Discography, The first ever Slade biography, Notes on
each solo transcription, Dozens of photographs

56 Flatpicking Guitar Magazine March/April 2000


57
Flatpicking Guitar Magazine March/April 2000
On The Web
David Dugas
building acoustic instruments. Very useful.
http://home.rochester.rr.com/ronelong/
Welcome to On the Web. Im going to events, but also contains a diverse variety of makers.htm
cover several different sites in this column, music. Very cool. http://www.qbc.clic.net/
which include guitar tools, places to buy ~thirtybe/ Ever wonder what you should do with
Irish and Scottish music as well as one your used strings? Well, Daryl Purpose
guitar builder using unusual material in Mark Klan has put together a very useful started the Second Strings Project in order
his instruments. Ive always had a keen site with several very cool web based guitar to distribute used guitar strings to needy
interest in music from the British Isles as tools: CapoCalc, ChordMatch and Chord folks in other countries. What a great idea.
well as French-Canadian music and I found Spell. CapoCalc determines where to set http://www.darrylpurpose.com/news/
a couple of interesting sites that Id like a capo to match another person, while index.htm
to share with you. playing in a different key. ChordMatch
I really enjoy music from Ireland finds chords that contain a given melody Pawless Guitars in Lewisville, TX has
and Scotland and was very pleased when note (useful for figuring out chords a very modest site with pictures laying
one of my fellow flat-pickles mentioned to songs). ChordSpell names the chord out his building process. I like his choice
Portland America. Even though there is formed by the notes you select, with of woodsMesquite, Texas Rosewood
very little flatpicking specific material optional guitar fretboard entry and recently and Cocobolo. Interesting stuff. http://
on this site, its a great site with lots added rootless chords. Very cool stuff. home1.gte.net/pawless/index.htm
of interesting Scottish music. http:// http://www.planetc.com/users/msk/
www.portlandamerica.com/ Thats it for this edition of On the
Heres a very useful site with a listing of Web! Next issue well cover another
Thirty Below is dedicated to French various guitar builders and repair folks. The guitar builder using unusual material in
Canadian fiddling in Quebec. Not only site isnt dedicated to acoustic instruments, their instruments as well as other fun places
does the site have links to important local but it does contain a lot of links to folks On the Web!

Learn the tunes and


solos of your choice,
in any format.

The Original Custom


Transcription Service

All styles and instruments: flat-


picking, fingerstyle, chord solos,
melody, improvisation; other
instruments (horns, woodwinds,
piano, etc.) transcribed for guitar,
mandolin, etc. I can also create
custom arrangements.
Private lessons via U.S. mail.
Berklee graduate, professional
recording and performing artist.
Tab and/or standard notation.
Details and tips on the Web:
http://world.std.com/~jmcgann

John McGann
P.O. Box 688-FM
Jamaica Plain, Ma.. 02130-0006
(617) 325-6853
58 Flatpicking Guitar Magazine March/April 2000
PICKIN FIDDLE TUNES
by Adam Granger
MADAME BONAPARTE
Greetings, pickers everywhere! This time, were drawing from the
prolific and rich Irish catalog for a fine hornpipe, Madame Bonaparte.

note with a dot after it is a quarter


lature, except that timing notation

after it is a half note. There are a


has been streamlined and simpli-
fied. Since fiddle tunes are com-
Easytab is like conventional tab-

indicated by a dot. Therefore, a


READING EASY-

note, and a note with three dots


Easytab uses the eighth note as
its basic unit. An eighth rest is
If you have been putting off purchasing the companion CDs that editor Dan Miller and

prised mainly of eighth notes,

total of eight notes and rests


columnist Brad Davis offer for each issue of Flatpicking Guitar Magazine, wait no longer.
Youll want an audio reference on this one in order to hear the stylistic treatment appropriate

TAB
to traditional hornpipes (For more on this, see the informative and entertaining box below).
This tune can be found in the Set Dance section of the wonderful book ONeills
Music of Ireland. A set dance is a dance designed to go with a specific tune; large
numbers of them can be found in both the ONeills and the Coles collections (for more
information on Coles, see About Coles in my column of Volume 3, Number 2).
When (not if) you get the CD, note not only the essential hornpipe cadence,
but also the interplay of clipped and sustained notes. Very hornpipy (Hornpipish?

etc. The first note of each mea-

rests in this alternating pattern.


Hornpipoid?) The tempo as played on the CD is a good hornpipe dance tempo.

rests in an eight-unit measure,


Pick with an alternating style:

the configuration of notes and


the last an upstroke. Include

beats, so that, no matter what

down-up-down-up-down-up-
sure should be a downstroke,
down-up-down-up-down-up

playing downstrokes on the


BEGINNERS

This keeps you in synch,


This version is transcribed from a 1987 live recording of The Eclectic Brothers,

the right hand plays them


and is an Adam solo. Check out the great backup: bassist Gordy Abels root-fives

FOR
and Dick Nunneleys fine spare chording create rhythm to die for. Only perfect. . .
One quick note about the form of this tune: It aint square; its crooked,
and in a very unusual way: The first part is standard eight-bar-repeated, but the
second is twelve-bar-repeated, for a total of 40 bars. (For a scintillating explication
of this topic, see Fiddle Tune Forms, my FGM column for Volume 1, Number 5.)

WHEN IS A HORNPIPE NOT A HORNPIPE. . .


One of the questions most commonly asked of me, and a on the assumption that folks know how to play hornpipes.)
frequent topic of conversation on the Flatpick list (What? You This is a purely musical issue, and, as such, doesnt keep a
dont know about FLATPICK-L@LISTSERV.NODAK.EDU?) is maverick like me awake at nights. Do know, however, that if you
about the distinction among reels, single jigs, double jigs, slip-jigs, run across Irish dancers who want you to play a hornpipe so they
hornpipes and breakdowns. The jigs are all based on 6/8 orin the can dance to it, theyll expectand require!the traditional hornpipe
case of slip-jigs9/8 time, so theyre fairly easy to differentiate treatment. (Quite apart from the pure social and musical incorrectness
(for more on jigs, see my column in Volume 1, Number 2). The of not accomodating them in such a situation, terrible accidents can
relationship among the others is, however, a muddied one, indeed. occur from peoples attempts to dance hornpipes at bluegrass tempos.
Reels and breakdowns are safely considered synonymous: both I remember one night in Chicago when a banjo player played Sailors
are pretty much played in a straight eight-to-the-bar style as fast as Hornpipe at 144 bpm and one dancers feet flew off her legs and across
we poor flatpickers can make our little fingers go (and often faster). the room, severely damaging a valuable wall hanging. It was thanks only
Hornpipes are a different matter. Until bluegrassers got to the finest terpsichorean surgeon in America and a talented Fine Art
hold of some of the Irish chestnutsSailors and Fishers, most Restoration Expert that no permanent damage was done, but that dancer
notablyhornpipes occupied a rhythmic niche all their own. now refuses, understandably, to be in the same room with a banjo).
While bluegrassers have smoothed out and sped up hornpipes, While Sailors Hornpipe and Fishers Hornpipe lend themselves
effectively making them indistinguishable from reels and breakdowns, nicely to straightening out and speeding up, many hornpipes
hornpipes traditionally are dance tunes, played at a slower dont. This is one of them. When this tune is bluegrassized (if
tempo and with a pronounced pause after every second note. that aint a word, it oughtta be) it comes out sounding really goofy.
(This could be shown in music notation as every other note Thus, Madame Bonaparte affords us all the opportunity to buckle
being dotted, but Irish collections generally dispense with this down and learn the traditional hornpipe style. Aint life grand?

The first pass through Madame Douglas and I copped this variation from Its a wonderful thing, this version,
Bonaparte is pretty straightforward and English piper and concertina player Alistair and if you want a real thrill, you ought to
very close to the version in ONeills. The Anderson when he was a guest on A Prairie hear it played on a concertina!
variation is something else again, being Home Companion twenty-three years ago. Okay, enough shilly-shallying. Order
comprised almost exclusively of triplets. We sat backstage covered in dry sponges that CD, if you havent already, and lets
Ex-Powdermilk Biscuit Bandmate Bob and soaked it up. get to work!

59
Flatpicking Guitar Magazine March/April 2000
MADAME BONAPARTE KEY: A (CAPO 2)
I G C G D G C G D G
0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 00023203020 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 2 302000 0 0 0 0 0 0 0 0 0 0 0 0 0
3 1 0 0 0 0 3 0 0 1 1 0 1 01000 0 0 3 0 0 0 0 0 3 3 0 3 1 0 0 0 0 0 0 3 0 0 1 0 1 3 0 0 0 0 3 0 0 0 1 0 0 0 0 0 0 0 0
0
0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 2 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 2 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 00020 0 2 0 2 0 0 0 0
0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 4 0 0 0 0 0 0 0
0
0000000000000000000000000000000000000000000000000000000000000000
0000000000000000000000000000000000000000000000000000000000000000
II G D G D G C G D
0 0 0 0 00023 203020 0 0 0 0 0 0 0 0 0 0 0002 3203020 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0
0000300000330310000300000330331030303031000100103030300000000
02 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 2 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 2 0 0 0 2 0 0 0 0 0 0 0 0 0 020 020 020 2
00000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000004000000000000
4000000

assistance of transcriber James ONeill

of Irish dance musicboth stateside and


The influence of ONeills on the
born American who collected, with the

of Ireland is an outstanding collection.


Not in question is that ONeills Music
G C G D G D G

opposed to airs and songs) around the

propagation and semi-standardization

depending upon to whom one speaks.


(no relation), a wealth of Irish dance
Francis ONeill was an Irish-

Irish musicians in the Chicago area.

in Irelandcannot be overestimated.
ONeills bailiwick was Chi-
0 0 0 0 0 0 0 0 0 0 0 0 0 2 302000 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0

Then as now, there was a wealth of


music (reels, hornpipes and jigs, as

things, a Superintendant of Police.


ABOUT ONEILLS

cago, where he was, among other


IRISH MUSIC 101:

This is either good or bad,


0 3 0 3 0 3 0 3 1 0 1 3 0 0 0 0 030 0 0 1 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0
0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 00020 0 2 0 2 0 0 0 0 0 0 00000000000000000000000000000000
00000000000000000000004000000000 00000000000000000000000000000000
0000000000000000000000000000000000000000000000000000000000000000
0000000000000000000000000000000000000000000000000000000000000000
There now. That wasnt so bad, was it? Lets move

turn of the century.


on: As mentioned, the variation below is virtually all triplets.
I indicated the first ten with ties, then put etc to reduce
clutter. If youre a tie freak, feel free to add the rest of them.

VARIATION
I
0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 000 0 0 0 0 0 0etc0000032000000000000000000000000000
3100001300011013010000000030300033030310000001300000
0
0000000000002000000000000200000000000000000000000200000000002000
0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0
0000000000000000000000000000000000000000000000000000000000000000
0000000000000000000000000000000000000000000000000000000000000000
II
0000000003200000000000000003000000000000000000320000000000000000
10131303000030300013100000303000000000000030300033030310000
00000000000000002000020200000000002000000000000000000000002000
0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 4 0 0 0 0 0 0 0 0 0 000 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0
0000000000000000000000000000000000000000000000000000000000000000
0000000000000000000000000000000000000000000000000000000000000000

0000000003200000000000000003000003000003000003000003000003000000
0000003030003303300030300030300100010100010030300030300000
0000000000000000000000000000000000000000000000000000000000000000
0000000000000000000000000000000000000000000000000000000000000000
0000000000000000000000000000000000000000000000000000000000000000
0000000000000000000000000000000000000000000000000000000000000000

0000000000000003000003000000000003200000000000000003000000000000
0000000001000030300030301013130400003030001310000030300000000000
0 0 0 0 0 0 2 0 2 0 0 2 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 2 0 2 0 0 0 0 0 0 0 0 0 0 0 0 0 0
0 0 4 0 4 0 4 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 4 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0
0000000000000000000000000000000000000000000000000000000000000000
0000000000000000000000000000000000000000000000000000000000000000
But wait! How should I pick this? I hear you ask. ago when I didnt know any better. Old dog, old tricks.
The short answer is either with straight alternation or jig-style: Okay, that should keep you all off the streets and out of trouble for
down-up-down down-up-down. The latter is more authentic, a while. I dont want any bad reports on any of you coming across my
but I alternate it because thats how I learned a quarter-century desk for the next two months!

Adam Granger is an old hippie who thinks people should be allowed to do what they want as long as they dont hurt anyone else. He makes a third of his
living teaching, a third performing, and a third from his publishing company. If he werent married to an attorney, hed be living like a student. A poor student. He
loves fatty foods and scotch, but is trying to get over it.
Adams father was an English professor, his mother a Christmas card artist. His late brother was a writer. His maternal grandmother and grandfather
were a painter and an architect, respectively; his paternal grandmother and grandfather were a painter and an attorney, respectively. Adams 22-year-old son is a
hip-hop musician.

60 Flatpicking Guitar Magazine March/April 2000


Exploring Bluegrass Guitar
Yellow Rose of Texas
by Steve Pottier

Readers of this column know Im lower note (often that is an octave jump). relax a bit with a simpler line and more
a huge fan of Clarence Whites guitar Look for that later in the second break. space. I personally like that as a listener;
playing, most of which has never made Youll also find lots of double stops, and it gives my ear a chance to regroup. More
it to commercial recording. In this day forward and backward slides. The last mea- notes there would not have been nearly as
and age of faster, faster, more notes sure is interesting in that you would expect effective. Measure 11 shows some of the
Im still thrilled when I hear him play a the first note to be an open G note (the same syncopation as measure 7. Measure
simple melody with ingenious turns and his melody), but it is temporarily suspended as 12 has a straight forward and backward
masterful feel for timing. Yellow Rose of he sets up for the next break. slide. Measures 13-16 have one of the
Texas is just such a melody, one that Ive The second break starts off very simply, coolest passages Ive ever heard. The left
heard since I was a kid. Ive only heard with lots of space (like the first break). The hand is actually very simple through this,
Clarence play it once on a practice tape, third measure shows a syncopated melody, with the right hand jumping strings all over
and it truly is a jewel. jumping the beat to put the melody on the the place. Look for the slide/jumps, and the
The first break is a pretty straightforward off beat (the 2nd note). Measure 4 has anticipated syncopation at the end of 14,
statement of the melody and not too much another slide/jump combination. Measures where you expect the open D note to be in
syncopation. Measure 4 has a very typical 5 and 6 have double stops and a hammer the next measure.
Clarence lick: slide, jump to a high note in instead of a slide. Measure 7 uses a lot of
the chord and let it ring while you play a syncopation, putting the melody on the Have fun with this one, its a treasure.
offbeat (upstroke). Measures 9 and 10 Steve Pottier spottier@jps.net

Yellow Rose of Texas Arranged by Clarence White


Transcribed by Steve Pottier

# 4
G

& 4

0 2
3
2

4
3
0


0
2

0
0

0 2
H
0

2

#
G D G

& n



4

4
2


2
2
4
2



3
S 2
0



H
3 3 13 3 3 3 3
0
4

0 2 0 0
2

= Strum

61
Flatpicking Guitar Magazine March/April 2000
Yellow Rose of Texas (cont)

#
G C G


11

& j.

3 0
.

2

4
3
4
2
0

1

1
0


S S H
2
0
0
2
0

0 2 0

2

J
#
D G G


16

& j
.
S

3

0



2
0
2
0
0



2
0
0
2

4
4

0 0.
1 3 S

0
2

2

2 2 4 4 H 2
3

J
#
G D G

j j
22

&
J J


34
32

H
0






2



H
3 3 3

3 3 3

0

J J 4
4
4
2
0
0

2 4 0 0 2 2 4
3
2
0

J J 3

#
G C


27

& j j




0







3
4
2
0


0
2
0

S S H

1

0

2

H 0 2 2 4 2

0 2

3 2

0
J
0

J
#
G D G

j
31

&


3
3

3
0

2
4
4
2
0
0
2
4
0

S S S
2
0
0
2
0

J 3
2
0

62 Flatpicking Guitar Magazine March/April 2000


John McGann's
Eclectic Acoustic
Irish Reel: Maids of Castlebar

Heres a classic Irish reel arranged for


guitar. The slow version features a fairly
traditional apporoach with conservative
chord choices; the fast version expands
the chord possibilities and throws in a few
bluesy F to F# phrases, far from the pure
drop of traditional Irish music, so well
just call it Irish with a Yankee accent. The
picked triplets can be played down/up/down John McGanns latest recording projects
or up/down/up, whatever works best for include Rust Farms Snows of March
you. I like the down/up/down, followed by produced by Tim OBrien, label TBA, and
another downstroke to get back into the Matt Glasers Wayfaring Strangers to be
alternate down/up flow. released on Rounder in late spring.
This is just one mans approach to the
tune. To really play this style (or any)
with authority, spend time listening to and
enjoying the masters of this music-most of
whom do not happen to be guitarists!

63
Flatpicking Guitar Magazine March/April 2000
Maids of Castlebar Arranged by John McGann

##
Slow version

D

& C
3

2
2

2
3
0
2

J




2
0






2

2 3 3
0 0 0 2 0 0 2 4 4 0 4



2
2
3
0
2
0
3
0
2
0







2
0
0








2
4

0
2
0 2 4 0 2 0 4202 0 3 2 0 4

3
A D D

2


2
2

2
3
0
2

2 0

4
0
0

3

0
0
2
0
2
0
0
2
4

2
0

0
3

2

n n#




2
0
3
0


3
4


4


0








2
0
0






0 3
2 2 2 2
0 2 42 0 2 0 4202 0 3 2 0

3
A D
#
D

Em



3







3
3
0
2
0
3
5
3
2
0
3
2
3
0
7
0
3
2
0
2


2
0
4
0
0

5 4 5 4 5 2

3
64 Flatpicking Guitar Magazine March/April 2000
Maids of Castlebar (cont)

# #
Em D


&
3 3
3 3




0
0
3
2
0
3
2
3
3
3
3
7
3
3
3
3
5
3
0
2
3
2
0




2
3
2
0
2

320 0
0 2 3
2

3 3
3 3

#
A D

D Em



3 3



2
0
5

5
4
5
2
3
3
0
2
0
3
5
3
2
0
3
2
3
2
0
7
0
3
2
0
2

4
2
3 0

3 3


Em D


3
3 3




0
0
3
2
0
3
2
3
3
3
3
7
3
3
3
3
5
3
0
2
3
2
0

2
3
2
0
2

3
2320

3
0

3 3
3 3
A D Fast version A
G
..
D

J
n #


0
2
0

2
2

2
2

4

0
J




2
0



4

3 3
0 0 0 0 2 0 0 3 4

3
D Bm G A G A

n n #
3 3

n



3
2
0
2
0

0
3 2

2
0
2
3
2
0
2
0
2
0
0

4
2
0
2
0
3
2
0
3
4

4
2
2

3
3 3
65
Flatpicking Guitar Magazine March/April 2000
Maids of Castlebar (cont)

# D
G 1. 2.
D
##
A D D A

&
.
. .
.


0
2
0
3
0
2
0
2
0

2






3
3
0


2
2
0
4
0
0

5 4 5 4 5 2

4
2
4
0
0

3
4



Em



3

3


3














0
0
3
2
0
3

3 3
2 0 5 2 0 2 3 2 0 7 0 3 2 0 2 2320

3 3 3



Bm D G D G


3 3 3


3
3
3
3
7
3
3
3
3
5
3
0
2
3
2
0




2
3
2
0
2

2 0
0 2 3
2

3 3 3
Em D A D
1.A Final ending (tag)

G

..
ww


0
2
0


0
2
0

2


2
0
4

3 3

2
4 0
5

66 Flatpicking Guitar Magazine March/April 2000


New Release Highlight
Bull Harman: Bulls-Eye
Reviewed by Dan Dingeldein

Growing up in central Illinois in Bull would get up in the morning do his


the seventies and eighties made it really chores on the family farm come in eat
difficult to see live bluegrass, let alone breakfast, practice until the bus got there
flatpickers. Fortunately for me there were for school. When he got home he would
three flatpickers in the area where I was do his chores, eat dinner, do homework
raised. The one that influenced me the (maybe), and practice until he went to bed.
most, and the first flatpicker I ever saw Even thought Bull admits that he cant play
live, was Bull Harman. Bulls-Eye is his like Tony, he also knows that he doesnt
first solo recording and let me say its want to play like Tony. Bull prefers to
a gooden. think of himself as a rhythm player first and
Bulls-Eye is a combination of original a flatpicker second, I love to play rhythm
and well known songs: seven of the thirteen because you can get so many different
songs are written by Bull. (Bulls real name rhythms and sounds out of a guitar. Bull
is David, however I would not recommend has been told that he has a powerful right
calling him that name since hed probably hand. He claims it came about because he
not answer.) Bull has some of the best had to be heard over his brothers banjo
the way he will sometimes play his G playing. Bulls idea on rhythm makes a lot
musicians in the business (both local and
chord. He places his thumb over the sixth of sense: either you have good rhythm or
national) playing on this CD. Included are
string, third fret and places his first finger you dont. Good rhythm cant be taught,
Alison Krauss, Rhonda Vincent, Tina and
over the second and first stings to create a rhythm must be felt.
Keith Adair, Bob Black and Rob McDon-
clawhammer G chord. Bull has many influences that are
nell (both formerly of Rage), Cecil Tinnon
After a few years Bull, his brother, and intertwined within his guitar playing. Tony,
and Kevin Liley (the previously mentioned
sister formed the Harman Trio. He started for one, his good friend David Grier for
other two flatpickers from central Illinois),
by playing strictly rhythm guitar and led another. The acoustic guitar playing of
Kirk Brandenberger, four sisters and a
the Trio to fame throughout the Midwest Nancy Wilson of the rock group Heart also
cousin, and his family members (Bulls
bluegrass scene. While in Knoxville, TN influenced him. Bull says that he still gets
wife Tammy, his brother Mike and his
he picked up a flatpicking album by Royce influences from music, rock and roll to
wife Stacey and Bulls sister Lori Harman
Campbell, which really introduced him to country, anything that has acoustic guitar
Cummins).
flatpicking. From there he started listening in it. Its not necessary that I learn anything
Knowing the majority of the personnel on
and studying Norman Blake. Then came from the music, its just that I love the
this CD, I knew it was going to be fantastic.
TONY (if you have to ask Tony who? sound of it and it gives me new incentives
To call this a guitar CD would do it serious
go back to playing electric guitar). Tony and a direction to go. Music to me is feel,
injustice. It takes you from traditional
opened up a whole new world in Bulls it doesnt matter what kind of music it is,
tunes like Shenandoah Breakdown, to
guitar playing. Bulls sister Lori told me as long as it speaks to me.
gypsy jazz tune like Gypsy Dream; from
a story that when Tony first came out that
traditional gospel Unclouded Day to an
original love song, Am I Losing You.
Bull did a terrific job on matching the songs
to the vocalists and instrumentalists. He www.musicianexchange.com
feels that there are some songs that do not
THE auction website for great musical instruments
sound as good when certain people sing
them. They may be great singers but not
all singers can sing all tunes. Designed for musicians by musicians!
Bulls family came from the Blue
Ridge area of Floyd, Virginia. His paternal
grandfather played frailing banjo and
mandolin. In the 1920s he moved to We list only the good stuff and
central Illinois to look for work and that we help protect buyers and sellers
is where Bull was raised. Bull began
from Internet fraud!
playing guitar at the age of 10 and brother
Mike showed him a few chords on an old
Kalamazoo guitar. To this day you can Great Instruments! Great Bargains! Give us a try!
still see remnants of Bulls childhood in

67
Flatpicking Guitar Magazine March/April 2000
Bull has played with some of the best
Hey! wanna jam? musicians in the business. Bull met Alison
when she was just 11 years old and she
asked him to back her up at a fiddle contest
Pete Wernicks in Illinois. In the mid-eighties, Bull took
some time off from playing to spend more

Bluegrass JAM CAMP time with his family. During that time he
began to hone his music and lyric writing
skills. In 1996 he got a phone call from
...at MerleFest! long time friend Rhonda Vincent who was
in search of a guitar player. During his
Wilkesboro, North Carolina three-year stint with Rhonda he had the
April 24-27, 2000 Monday-Thursday prior to the privilege to play on the Grand Ole Opry and
Ernest Tubbs Midnight Jamboree. Now
a fun and friendly on occasion he plays with the Adairs.
event for closet pickers! Bulls main stage ax is a 1983 HD-28
Martin. His favorite is his 1976 D-35
Martin. Bull says that the D-35 responds
better with his style of playing but has
ALL BLUEGRASS INSTRUMENTS WELCOME problems with the neck pulling up since
No jamming experience necessary it does not have an adjustable truss rod.
You will be jamming the first morning! He uses the 88mm green Tortex picks
with the pointed corner. He tried using
tortoise shell picks but had a problem with
What it is: them breaking or having to shape them too
Classroom and hands-on instruction with lots of jamming, 9:30-5 daily. often so he switched to the tortex. Having
You will be grouped with others according to experience. used them throughout his career, Bull just
Group and individual pointers on instrumental technique, harmony singing, recently got an endorsement with GHS
and the how-tos of a variety of jam situations. strings. Bull primarily uses medium string
but switches out the low E for a 54mm or
Open to: 52mm. He says that for him the lighter
All bluegrass instruments: guitar, mandolin, banjo, fiddle, bass, resonator
gauge is easier to bend, and lasts longer for
guitar, even harmonica, autoharp or dulcimer, Non-picking singers welcome!
use with drop-D tuning.
Basic requirement: You must be able to tune your instrument (electronic tuning To get in touch with Bull you can con-
devices welcome) and change smoothly between simple chords. You dont tact him at his website: www.angelfire.com/
need to be able to solo, but it helps. Singing is not required but is a big plus. biz3/BullHarman (Note: this site is case
sensitive.) Bulls-Eye is a must have for
How to sign up: any music lovers collection. Expect great
Fill out the form below and send $80 deposit ($170 due on arrival.) things to come out of this guy over the next
several years. If you dont have Bulls-
Attendance is limited. Available space will be given to underrepresented Eye GET IT! If you do have it SPREAD
instruments (usually bass and fiddle) and to those able to sing verses of a
THE WORD!
variety of bluegrass songs.

Song List: Fighting Irishman, Unclouded


Sign me up for Bluegrass Jam Camp! Day, Nashville Skyline Rag, Bulls-Eye,
Please send confirmation of registration along with information on the Merle Tennessee Flattop Box / Shenandoah
Watson Festival and available accomodations. Breakdown, Am I Losing You, Gypsy
Dream, How I Long To Be In The Moun-
[ ] $80 deposit enclosed, $170 due on arrival
tains, Ridin The Blueridge, South Train
To Memphis, I Saw The Light, Another
Name:_________________________________________Check which instruments you
play, and circle the main one:
Time
[ ] guitar [ ] banjo [ ] mandolin
Address:_______________________________________
[ ] fiddle [ ] bass
[ ] resonator guitar (dobro)
City, State, Zip:_________________________________[ ] other:_____________ [ ] none
Do you sing? [ ] yes, know many
songs
Home telephone:_______________________________

DR. BANJO 7930-G Oxford Road Niwot, CO 80503


68 Flatpicking Guitar Magazine March/April 2000
Bulls-Eye
Transcribed by Brad Davis Written by Bull Harmon

# 4 ww
..
1 Em

& 4 # n ww
w
P

3
0
.. 2
S 4

3
5

0
3



3

3

P S
2 0 0 0 3 2 2
3
2
0

H 3
2
0
2
0

2

2
0

2
0
3
0

2
2

# Bm

Em

6 Em

&
P


3
5
0
5

0
S

3
2
3
2
3
4
5

0


0

S

3
0
3
2
3
2
3




3 5
S 0
2 4


Em
#
B7 Em
10

& # # n .. .. j . j
j
P # n
0
5
0

3

3
0

0
.. .. H
0
3
3
2

5
2
0
2
.
H P H H
0
2
2
0

2

1
0
2



J

P
0 0 2 0 2
0
0
J J 3
0

#
B7 Em
15 1.

&
#
j

# #
2


0
2
2
0
2
0
0
2
0
2
0
P
0 S

1
0
2
0

2

2

1

2 4 2
0
1
2
2
2
0
2

J
2 0

19
# B7 Em
..
2. B7 Em

&
j

# n

.. 0
2
S 4
3
4
S2
0
2
0
0

2

1
0
2
2
0
2
0

2
0

P P

3
0
3
0

0 J

69
Flatpicking Guitar Magazine March/April 2000
Reviews
gives a more complete picture of the Gray Mule features prototypical bluegrass
CD Reviews band...corny humor, strong vocals, and guitar back upsolid and driving.
solos spread between mandolin, banjo and Recorded on January 15, 1965, Live In
yes, Whites mind- boggling guitar. Stereo represents the band a few months
Billy Ray Lathum Presents before the arrival of Scotty Stoneman (to
As one would expect from early genera-
The Kentucky Colonels hear that lineup, check out Livin In The
tion tapes and the wonders of digital
Live In Stereo Past or the out of print Scotty Stoneman
remastering, the sonic quality on this set far
Double Barrel Records 1001 and the Kentucky Colonels). Befitting a
exceeds anything available in the bootleg
world or on the other live CDs currently band that worked together for a number
available. Not only do we get to enjoy 20 of years, they perform as a smooth unit.
new performances showcasing the Colonels Like many live recordings, Live In Stereo
at their peak, were treated to ten songs provides a snapshot of a moment, flubs
currently unavailable on any other Colonels and all (the vocals on Dark Hollow),
CD, and perhaps most important to readers as opposed to the polished portrait of a
of this magazine, some new blistering solos studio project. Live In Stereo, while not
by White and some great examples of his an essential bluegrass recording, could
back up guitar work. certainly fit in any well-rounded collec-
The Colonels were a solid bluegrass tion. For fans of White and flatpicking,
unit, and clearly a masterful live act. That its another important document of an
said, its Whites guitar work that defines incredible player who changed the way the
the band legendary status. Whites takes on instrument is played and left precious little
Shucking The Corn, Alabama Jubilee, in the way of recorded documentation.
by Joel Stein
Soldiers Joy, and You Wont be Satis-
fied That Way are welcome additions to Contest Favorites
Like Jimi Hendrix before him, guitar the White cannon. The interplay between Wayne Henderson &
legend Clarence Whites discography has Whites guitar and his brother Rolands Robin Kessinger
grown in the years since his death. In fact, mandolin, like their vocal harmonies, Flying Cloud CD-FC-010
there are now more Kentucky Colonels achieves an intimacy that most musicians
titles in print than at any time during can only aspire to. Listening to the White
Whites all-too brief life. With the current brothers trade off on Alabama Jubilee
ease of digital reproduction, fans of Whites is akin to eavesdropping on a private
(and other artists) can look forward to conversation. The brothers punctuate each
a spate of both bootleg and authorized others statements, taking off where the
releases. Take for example the new release, other has left off. Whites guitar is more
Billy Ray Lathum Presents The Kentucky restrained and focused here than on the
Colonels Live In Stereo recently released version of Jubilee found on Livin In
on a home grown label by Lathum, the The Past where at a few points White
Colonels banjo player. seems to lose concentration (the end of
Tapes of various Kentucky Colonels his second solo and a few times during
performances have circulated among die- his last take).
hard fans for years. According to Lathum, While Whites lead guitar playing Reviewed by Larry Robinson
these are the only live stereo recordings demands attention, there are a number
of the band and represent a complete set of solid examples of his prowess as a
of the band at the height of its prowess as The synergism that exists between these
rhythm player on this CD. One of the great master guitarists is nothing short of delight-
a live unit. It should be pointed out that advantages to listening to this CD over
Etsuo Eito, perhaps the leading collector ful! Wayne Henderson is not your average
the various tapes is that you can actually fingerpicker. Robin Kessinger is an excep-
of White ephemera in the world, suggests here Whites bass runs on most of the
that the song order differs from the original tional flatpicker. As you listen to Hender-
cuts. Hearing Clarence provide a rhythmic son, its hard to imagine any fingerpicking
tapes and only contains the first of three pocket for Roland to solo over is a treat.
sets. Regardless, what we have here is a technique that is so fast and clean. Wayne
Some of Whites most interesting back up is is also a well known luthier.
fairly compelling view of the Kentucky on the loose to the point of seem busting It
Colonels in performance. While guitarists Concert Favorites could be subtitled
Aint Gonna Rain No More, where White A Flatpicking Primer. Here are a dozen
tend to focus on the Colonels as a vehicle punctuates the proceedings with a variety
solely for Clarence White, Live In Stereo tunes that are standard fare for your guitar
of fills and rhythmic stabs. Johnsons Ole repertoire. Leather Britches starts off
70 Flatpicking Guitar Magazine March/April 2000
the project, and you get a hint of whats Larry Rices vocals are close enough in Dolly Parton
in store for the listener: A trip through tone and timbre to Tonys to make a few The Grass Is Blue
guitar heaven with two virtuosos along heads turn. In addition both Hillman and Sugar Hill CD 3900
with some mandolin input from another Pederson add vocals.
master, Arnie Solomon. Doug Rorrer has It would be a mistake to think of this
the bass position under control. as a pure bluegrass project. Like their first
Mississippi Sawyer is a highlight track release as a unit, Out Of The Woodwork,
on the project. I also like their rendition of the music here is as close to country rock
Sweet Georgia Brown. Lots of evergreens in feel as bluegrass. Like the Newgrass
in this musical forest! East Tennessee Revival, its acoustic, with traditional
Blues,I love the seamless transitions instrumentationguitar, mandolin, fiddle,
from fingerpicking to flatpicking. Lots of dobro and bassand a very contemporary,
interesting rhythm and lead techniques in rock influenced feel and sense of harmony.
all of these tracks. Fun CD to play along Song titles range from originals from Larry
with! Rice and Hillman, to covers of the Grateful
Thanks to the folks at Flyin Cloud Deads Friend Of The Devil and Delaney
Records for making this wonderful guitar & Bonnies Never Ending Song Of Love. Rhonda Vincent
experience available. Contest Favorites is The latter is a particularly interesting choice Back Home Again
going to take up long term residence in my as it was recorded by Clarence White for Rounder 11661-0460-2
CD player, as it should in yours. Highly his unreleased solo album and was featured
recommended! in the last shows by the White Brothers
We can also get a better feel for the and the New Kentucky Colonels (both of
stylistic blending of Wayne Hendersons which featured Pederson). Given that Tony
and Robin Kessinger guitar techniques Rice currently owns Whites guitar and is
when they perform with the Masters Of certainly his direct spiritual descendant,
The Steel String Guitar tour this year. its a treat to hear his take on that particular
track. Rice kicks the tune off with a nifty
Song List: Leather Britches, Little Rock run, laying back as the vocals come in.
Getaway, Ragtime Annie, Fishers Hornpipe, He then plays a virtually unending series
Cherokee Shuffle, Mississippi Sawyer, Forked of supporting lines, twisting and turning
Deer, Sweet Georgia Brown, Turkey In The
behind Pedersons vocal before bringing
Straw, East Tennessee Blues, Temperance Reel,
the song to a close with a brief solo run.
Flop Eared Mule.
Joining in support on various songs by Joel Stein
are Ronnie and Rickie Simpkins and Fred
Rice, Rice, Hillman & Pederson
Travers, among others. But its Rices guitar
self titled It would be easy to dismiss Dolly Parton
is that commands attention throughout
Rounder 11661-0450-2 for her excessivenessher self-deprecation
the project. From the intro on the opening
and ease at playing a caricature are legend-
cut, Hillmans Doesnt Mean That Much
ary. For example, when asked how she
Anymore, to the closing cut, Flatt &
kept her waist so small, she answered that
Scruggs Ill Be On That Good Road Some
it was difficult to grow things in the shade.
Day, Rice jabs and stabs with his guitar
But its impossible to ignore Partons talent
like a master boxer. Its refreshing to hear
as a songwriter and singerher Jolene
Rice in this contexthis playing maintains
is a brilliant piece of work.
his personal stamp while avoiding lapsing
into cliche.
Rice, Rice, Hillman & Pederson will not
get any hardcore Tony Rice fan to forget
Manzanita, Cold On The Shoulder or any
personal favorite Rice recording. That said,
it is a treat to hear his playing here. Now, if
by Joel Stein only these guys could be convinced to take
the show on the road and tour.
For those waiting to hear something
new from the reigning master of the guitar,
Tony Rice, the prayers are answered within
seconds on the new release from Rice, Rice,
Hillman & Pederson. With a name like a
legal firm, this group has enough musical
credentials to form a conglomerate. While
Tony Rice doesnt offer vocals, brother
71
Flatpicking Guitar Magazine March/April 2000
And its equally impossible to ignore clearly has an affinity for both traditional and the band never cuts the reins to ride.
that same excessiveness that led Parton and bluegrass music. Parton is confident Still, the bands expertise here is in sup-
to assemble the finest band of supporting enough as an artist to mix in some interest- porting Partons vocals and offering concise
instrumentalists this side of Bela Flecks ing covers (Billy Joels Travelin Prayer statements. If this is a bluegrass equivalent
Bluegrass Sessions. In fact, two thirds of and Blackfoots Train, Train) with some of an all star line up, then kudos and a
Partons band on The Grass Is Blue (Sam standards (Cash On The Barrelhead, hometown welcome cheer for guitarist
Bush on mandolin, Stuart Duncan on fiddle, Sleep With One Eye Open, and Hazel Bryan Sutton. Probably the least known
Jerry Douglas on dobro and Bryan Sutton Dickens A Few Old Memories) with among the contributors, Sutton is without a
on guitar) served as the road band for four originals, a song by one of her sisters, doubt one of the most exciting guitar play-
Flecks all star extravaganza. You can poke and some well chosen mainstream country ers to emerge in recent years. His breaks,
fun at Parton for any number of things, but tunes. while frustratingly short and few, are well
not about her choice in musicians. Round- Any doubts about Partons abilities thought out and flawlessly executed.
ing out the band are Jim Mills on banjo, should be erased by her take on A Few Sutton returns, along with Jerry Douglas
Barry Bales on bass and a variety of special Old Memories. Parton wrings emotion (its hard to avoid hyperbole when discuss-
guests (Alison Krauss, Dan Tyminski, out of the plaintive lyrics, while the band ing Douglashe oozes musicality from
Claire Lynch, Patty Loveless, Rhonda and offers mournful fills in three quarter time. his every pore) to support Rhonda Vincent
Darrin Vincent, Alan OBryant and Keith Partons offers a stunning take on the on her return to bluegrass with the solid and
Little) on harmony vocals. traditional Silver Dagger. Her breathy aptly titled Back Home Again. Like Parton,
In spite of this all-star cast, the question vocal, almost frail, floats in over a banjo who offers a supportive blurb on the CD
hovers as to whether this is a project of and chopping mandolin. By the second jacket and features Vincent and her brother
a Nash-Vegas star without major label verse, the music builds with the band led on her project, Vincent has worked the
support putting out a credibility project by Douglas, then Duncan joining in. By more mainstream side of country. Vincent
and paying for the best cast available the third verse, Parton and the band get also assembled an impressive castjoining
(remember Bruce Willis star packed foray in full stride. The song concludes with Sutton and Douglas are Vincents brother
in to blues and R & B some years ago?), the musicians trading off with each other Darrin (from Kentucky Thunder), Luke
or whether this project reflects an aspect of while Partons subtely scats over the top Bulla, and Glen Duncan among others.
Parton as an artist. then fades. Vincent, a gifted singer (and solid
Its clear upon listening that this project For all the instrumental talent assembled mandolin player), chooses her material
is an honest expression for Parton. She on The Grass Is Blue, this is a vocal project well. Little Angels tackles the serious

GRANGERS FINALLY!
FIDDLE COMPANION CDs
TUNES for Grangers Fiddle Tunes for Guitar
Instantly access any tune!
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Challenge yourself! Set your CD to Shuffle and try
GUITAR to play rhythm (or lead!) with whatever comes up.
Not dangerous, illegal, discriminatory or fattening!
508 TUNES 1027 TITLES FULLY Our companion cassettes have been very popular. The five-tape set allows pickers
to hear all 508 tunes in Grangers Fiddle Tunes for Guitar. While we will continue to
CROSS-REFERENCED COMPANION offer them for folks who like the portability, or who dont own a CD player, the obvious
drawback to cassettes is that its hard to find a specific tune.
CDs AND CASSETTES AVAILABLE For years, folks have been asking us to make these recordings available in CD form.
The advent of CD burners has made this possible, and we now offer these tunes on
This is the largest collection of fiddle tunes

29.95
seven CDs. Each CD contains about 75 tunes, first announced, then played once, with
in guitar tab in the world. rhythm on the left track and lead on the right.
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72 Flatpicking Guitar Magazine March/April 2000
issue of child abuse while avoiding the Richard Starkey and another flatpicking fiddle tune CD. For
maudlin. Vincent deflty moves from first Mark Cosgrove me the strength of this recording is its
person to narrator as she tells the story of Delaware Crossing variety. They did a great job selecting
a girl living with the scars of abuse. Its a NNM0045 their material.
topic rarely taken on in bluegrass. Cosgrove and Starkey move out of the
She offers a tip of the hat to Parton with hot picker fiddle jam mode on numerous
a rousing take on Jolene, and offers up a occasions here. First, they both sing.
convincing take of Youre In My Heart Cosgrove sings a great Jimmy Rodgers
by Union Stations Ron Block. Vincent blues number, Jimmys Texas Blues,
offers a showcase for her ample vocal range and later sings a folk-rock oriented Roger
on the rousing Passing Of The Train, McGuinn tune Just A Season. Starkey
where she pushes the song in the manner does a fantastic job adding his voice to the
of a female Tim OBrien. sultry Summertime. On these tunes both
As with The Grass Is Blue, one wishes players display their abilities to masterfully
that Sutton was given more room to strut flatpick outside of bluegrass and fiddle
his stuff. His playing throughout is a music.
model of taste and support. One of Suttons Another unique aspect of this CD is the
finest moments is Jolene, where he Reviewed by Dan Miller use, by both Cosgrove and Starkey, of a
punctuates Vincents vocals with well timed guitar outfitted with a Parsons/Green acous-
runs. Suttons work on the opening cut, tic string bender. While a number of the
Lonesome Wind Blues is quintessential The long awaited release from this tunes are peppered with the benders unique
bluegrass. His solo maintains the move- flatpicking super-duo is finally here. We sound, it is most notably and expertly used
ment of the melody as it moves around the featured Richard Starkey back in the on the slower numbers such as The Kiss
guitar. Sutton is a mature and fresh voice May/June 1998 issue of this magazine Me Waltz and Just a Season.
on the guitar. and Rick provided the first cut of this Two of the ten instrumental numbers
It would be an honest wish to hear more album for use on our Flatpicking 98 CD. on this project were written by Richard
hot picking from the musicians here. But Ever since that time flatpicking fans have Starkey. The first, Lukes Rainbow, was
that would be quibbling. Both bands avoid been anxiously awaiting the release of this tabbed out in Volume 2, Number 4 of this
the hot licks in the service of the singers and recording. Wait no more! magazine. This tune also appeared on the
the songs. Ultimately, thats what a good Was it worth the wait? I think so. Flatpicking 98 CD, however on Delaware
band should do and both records showcase As you would expect from a pairing of Crossing a bass and mandolin chop has
musicians who support the lead masterfully. a national champion picker (Cosgrove) been added to the mix to bring out a fuller
Thats the mark of great playerswho with the Martin Guitar Companys guitar sound. The other Starkey original number,
could possibly ask for more? clinician (Starkey), there is an abundance Autumn Winds, is one of my favorite
of great picking here. Being true flatpick- selections on the CD.
ing enthusiasts, Rick and Mark naturally Great job guys! It was worth the wait.
explore the standard flatpicking repertoire This CD is highly recommended!
with tunes like Sweet Georgia Brown,
Huckleberry Hornpipe, Down Yonder,
Little Rabbit, and Roanoke. If you
love to listen to, or jam on, these tunes,
Rick and Mark will give you plenty of fresh
and inventive solos to chew on. However,
it is important to note that this is not just

Learn FIDDLE TUNES!


Classic Doc Watson: By jamming with the band! BackUP TRAX book/CD set by Dix Bruce (from Mel
Bay Pub.) lets you play along with the recording (each tune at both slow & regular
1960-1962 speeds), read music/TAB, learn melodies and practice soloing on 14 popular OLD
The Original Folkways Recordings - 48 of the most TIME & FIDDLE TUNES while the band (guitar, mandolin & bass) backs you up!
important and exciting songs in the traditional Ameri- You play all the leads. Well jam all night long! Repeat a song as many times as
can repertoire as played by Doc Watson and Clarence you wish. Temperance Reel, Sally Goodin, Blackberry Blossom, Beaumont Rag,
Ashley. Transcribed by Flatpk. Gtr. columnist Dix Bruce Red Haired Boy, Black Mtn Rag, June Apple, Arkansas Traveller, Soldiers Joy,
with chords, melodies, lyrics, and solos in standard notation and tabla- Billy in the Lowground, Old Joe Clark, & more. (e-mail us for complete list)
ture, plus Docs phenomenal backup playing on many of the selections. Way
Down Town, Banks of the Ohio, Handsome Molly, Crawdad Song, Fire on Book/CD set - $17.95 plus $1.65 postage ($3.40 for priority mail).
the Mountain, Reubens Train, Sitting on Top of the World, 48 total. (E-mail (CA res. add sales tax) Please specify your instrument. Free Catalog on request!
us for complete list.) Study Docs songs, technique, solos and backup guitar in
depth. Included are Bruces comments on all the songs, plus playing tips. Book Order Toll-Free: (877) 219-0441 Visa / Master Card accepted
$19.95; Book and 2 CD set $43.95 plus $1.75 book rate; $3.40 priority. (CA
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Also available: BackUp Trax: Swing & Jazz; Traditional Jazz; Early Jazz & Hot Tunes same price

73
Flatpicking Guitar Magazine March/April 2000
learning the melody first, followed by
connector licks and embellishments.
Instructional Video A really neat feature is on-screen tab
Reviews which shows you each of these three
concepts in different colors. This makes it
Creating Guitar Solos for really easy to see just exactly how Chris is
Banjo Instrumentals using connector licks and embellishments
Creating Guitar Solos for to add to, instead of replace, the melody.
Bluegrass Songs Another feature that every learning video
by Chris Jones should have, and which both of Chris do,
Musicians Workshop is screen titles for each song which make
it easy to skip from section to section.
Theres the requisite split screen for
showing right and left hands, although
the camera sometimes doesnt zoom in on
Chris right hand. No matter- the left is
shown and were really more concerned
with getting concepts rather than specific
licks down. Were also taught various
kickoffs which can be used in many
other songs. And finally Chris touches
on safe notes and how to sketch out
melodies.
Chris is accompanied by his wife Sally
Jones on rhythm guitar in both videos. On
the vocal tape, he sings the songs and then
tears them apart for us to show how he
created the break he played. For the most
part, his breaks are in first position, using
simple songs, although towards the end
of each tape he gets more complicated. I
kind of wish that they would have used a
Reviewed by Bryan Kimsey banjo player on the banjo tunes video, so
that we could hear the tunes as actually
With these two videos, Chris Jones played on that instrument, but I think
has answered the questions of a lot of most flatpickers will be familiar enough
flatpickers: How do I play guitar breaks with the tunes and if not, its no big deal
for banjo instrumentals and singing to listen to a banjoist on CD.
songs? Theres so many notes in the The banjo tapes covers the tunes
former that its sometimes hard to translate Fireball Mail, Dear Old Dixie, Ruben,
to guitar, and so few notes in the latter Cluck Old Hen, and Lonesome Road
that its sometimes tricky to play a hot Blues, while the song video covers Shady
break that still sounds like the song. Chris Grove, Pig in a Pen, In the Pines, Bury
tackles these two subjects in separate, but Me Beneath The Willow, and Bridge to
similar videos that should definitely help Portsmouth. Both videos are excellent
beginning/intermediate flatpickers. and a recommended addition to your
Both videos feature almost identical video learning library. Ohbe sure to
production, with some great additions to watch the banjo video all the way to the
the video learning world. Chris plays end for some hilarious outtakes.
the tune and then sets up a pattern of

All CDs and Instructional items that


are reviewed in this magazine are
available through our
Flatpicking Mercantile catalog.
74 Flatpicking Guitar Magazine March/April 2000
the sound as they go. A few years ago
I discovered an innovative preamp-in-a-
Gear Reviews mic-cable called the SmartCord from
Pendulum Audio. Running the Thinline
and the McIntyre through it changed things
Of Mice And Pickups considerably: the McIntyre blossomed,
By Orrin Star sounding fatter and much more musical.
The Thinline was now listenable and also
For the many acoustic guitarists who sounded pretty gooda little more bottom
need to use them, pickups are a necessary than the McIntyre but also a little more
evila pact with the amplificatory devil of that frappy treble sizzle (the #1 pickup
to wring feedback-free volume from an problem). I couldnt run the Schertler
instrument that isnt very loud. I almost through the Smart Cord. But I could run it
never use them myself and, in general, through Schertlers own outboard preamp
dont much like them; Ill take the sound for comparison. Interestingly, the sound
of a good mic over that of a pickup any of the DYN-G was hardly affected by
day. the preamp. On the one hand this is quite
So why am I now reviewing a new impressive (i.e. it doesnt require a preamp
pickup from Switzerland? Well, several to sound good). On the other hand, the
months ago I posted a note on Flatpick-L McIntyre/SmartCord combination had
(the internet newsgroup) decrying the ugly more air and life to it than did the Schertler.
pickup sounds of the guitars at a show I We then went on to listen to the mini-mic
attended. Among the responses I received (which sounded very good) as well as the
was one from the American distributor mini-mic combined with the Schertler (a
of a line of more natural pickups made very pleasing combo, with the brightness
by a Swiss stand-up bassist/audio devotee of the mic enhanced by some different low
named Schertler. Having just slagged mids from the pickup).
pickupsand being something of an audio All of the design/engineering/aesthetic
guyhow could I not take him up on elements of the Schertler and its related
his offer to audition an ostenisbly better components are beautiful. But it is pricey,
mousetrap? weighing in at a suggested retail of $470.
The Schertler DYN-G is a round, While this may be somewhat offset by the
button-like affair a la the McIntyre and fact that you dont need a preamp to power
other contact transducers. Affixed to the it, the reality is that you can have yourself
top of the guitar with a thin ring of special many other preamp/pickup combinations
green putty (included), it boasts a thin cable for half that amountand we preferred the
leading to a full size XLR (i.e. it behaves sound of some of those combinations. In
just like a regular low impedance mic cable, sum: a quality piece, but not a home run.
and goes straight into your mixer).
To evaluate the Schertler I headed over Having not given pickups a serious
to my trusty local guitar repairman Bob listen in a while, I was impressed at how
Jones shop and conducted a little shoot- actually listenable they can be. As already
out between it, a McIntyre, the Martin noted, simply adding a quality preamp to
Thinline that I have under the saddle of my the chain helped alot. (And we didnt even
67 D-28 and the Sony mini mic that Bob mess with the two other processes which
has mounted inside his old Gibson. Using can also improve their sound: parametric
Schertlers own custom two-way powered eq and reverb.) Given the refinements
speaker (which they sent along) as our that have occurred in pickups, preamps,
PA, we began by listening to each pickup mini-mics and other related gear theres no
unadorned. The Thinline was unlistenable; reason (save a dysfunctional PA operator)
the McIntyre was nasal and oinky; the that an acoustic guitar should sound bad
Schertler was very fat and pleasing (if a on stage today.
little dark). So the Schertler distinguished
itself in the out-of-the-box test. Schertler North America 508-778-4050
But the situation changed once we added www.capecod.net/schertler
a preamp to the equation. Preamps are
small, usually battery-powered boxes that McIntyre Acoustic Pickups 704-662-3022
boost the feeble pickup signal to a more
robust level, adding considerable body to Pendulum Audio 908-665-9333
www.pendulumaudio.com
75
Flatpicking Guitar Magazine March/April 2000
Guitar Highlight:
Merrill C-28
Merrill Guitars on the renowned Kenny Smith model from
Recreating The Ultimate Lucas Custom Instruments, this less radical
Flatpicking Dreadnoughts scalloping contributes to a somewhat more
by David McCarty even response and remarkably rich overall
tone in the C-28.
Last issue, FGM examined a radically The Merrill guitar uses historically
bold and innovative guitar design that correct trim, including ivoroid binding and
paid absolutely no attention to the classic a stunningly accurate celluloid pickguard in
flattop American guitars of the 1930s. a dark tortoise color. No ugly pepperoni
This issue, we turn 180 degrees and present pickguard on this guitar. Merrill even insists
an instrument intended to replicate to the on using genuine antique (not fossilized)
nth degree every detail of the Martin ivory for the nut, saddle, end pin and
dreadnoughts of the mid-1930s that many bridge pins. Great care is taken to shape
consider to be the finest flatpicking guitars the pins, nut, volute, and bridge exactly
ever made. as they were on the 30s guitars, and the
Merrill Guitars is a brand-new company bridge pins are unslotted exactly like the
with a 20-year history. The test guitar is originals. Merrills passion for getting
a Merrill Cumberland 28 (C-28), a brand even the smallest details right extends to his
new instrument with the look, feel and choice of tuning machines. The C-28 uses
sound of a 60-year-old guitar. Jim Merrill, actual Grover G-98 open back machines
the chief builder and designer, has taken his like the old Martins, not the Waverly
two decade-long love affair with vintage replicas seen more commonly these days, Merrill says the larger material is all that
Martins and applied everything hes and Merrill actually replaces the Phillips was available when the guitara prototype,
learned rebuilding, repairing and restoring head screw that comes with the modern not a production instrumentwas built.
these classic American guitars into his C-28 Grovers with a period-correct slotted Hes searching for a source for the correct
and a companion mahogany dreadnought, screw. material and will use it as soon as its
the Clinchfield 18 (C-18). Merrill Guitars A friend of mine called me anal available. The slotted diamond fingerboard
also builds a modern steel-string design, retentive and I told him I didnt know what inlays also were surrounded by way too
a harp guitar, and world-class classical it meant, so I looked it up and it turns out much filler on this guitar, but Merrill said
guitars, but this review focuses on their he was right, Merrill says openly. Ive that also was a problem only with this
C-28 model. always been a stickler for getting the details particular prototype.
The Williamsburg, Virginia-based right, down to the nth degree. Those minor issues aside, picking up
company got its start late last year and A couple of areas where the test guitar the C-28, one is immediately struck by
intends to produce around 12 guitars a does deviate by choice from the Martin how well all these details add up to the
month with a production staff of three. All paradigm are the use of a modern adjust- correct sound and feel. The neck is Ved,
the work, Merrill stressed is hand-done; if able truss rod instead of the steel T-bar but is shaped so that the bound sides of the
C.F. Martin didnt use a CNC machine to employed by Martin at the time, and the fingerboard are actually rounded slightly
carve guitar necks, bridges and braces at use of old-growth Honduran rosewood inward like the vintage necks were shaped.
its historic North Street plant in Nazareth, instead of Brazilian. (Brazilian rosewood is The neck immediately feels comfortable
Merrill isnt going to use one either, he available on a custom order basis.) Merrill and broken-in, just like the best vintage
says adamantly. Every effort is made by says the old-growth Honduran rosewood guitars. The fretwork generally was excel-
Merrill to create a guitar that is correct is the closest cousin to Brazilian geneti- lent, although the test guitar did develop a
in design, construction and detail to the cally, and in his opinion, comes closest to significant fret buzz on the 1st string at the
Martins of the legendary companys so- replicating the sound and appearance of a 10th freta minor problem that probably
called Golden Era. Brazilian rosewood guitar. was caused by changes in humidity and
The C-28 comes standard with a master He offers his guitars with the vintage 1 temperature. When I mentioned the fret
grade Adirondack spruce top with Adiron- 3/4 nut width or a narrower 1 11/16 nut buzz problem to Jim Merrills partner,
dack braces scalloped in the pre-war high preferred by some players. Aesthetically, Chuck Nimmo, Chuck said, All Merrill
x-bracing style. Merrill said in his inspec- the test guitar missed one crucial element Dreadnoughts incorporate a two-way truss
tion of dozens of Martin tops from the completely. The pre-war Style 28 Martin rod system. This allows for simple adjust-
1930s, he noticed that those braces were guitars used a very fine herringbone pattern ment of the action in order to compensate
not as heavily scalloped as Martin guitars purfling from Germany, but the test guitar for temperature and humidity changes.
from the 40s, or most modern guitars with came with the bigger herringbone pattern Not surprisingly, for a guitar that seeks
scalloped braces. Like the straight bracing seen on most modern herringbone guitars. to emulate every detail of an old Martin,
76 Flatpicking Guitar Magazine March/April 2000
the C-28 displays the common tonal characteristics of the old
herringbones. Its got a huge, fat bottom end that will drive sound
engineers nuts trying to mic this guitar. Theres no effort made here
to create a more modern dreadnought sound as seen in the brighter,
more mid-ranged voiced D-sized guitars from Collings, Santa Cruz
and other contemporary builders.
Take a Merrill to your next big bluegrass jam session and watch
the amazed reaction of the other musicians as you pound rhythms
and punch out crisp, decisive G runs and leads that sound like the
great bluegrass guitars of the past. The trebles are loud, clear and
well-defined, and the guitar excels on flatpicking leads that can be
heard over other instruments. The original Martin dreadnoughts
were, of course, designed to be great rhythm guitars, and the Merrill
C-28 simply nails that classic bluegrass rhythm sound. If youre
truly looking for an authentic vintage Martin dreadnought sound,
the Merrill comes about as close as youre going to get short of
buying a $21,000 1938 D-28.
Jim Merrill and company have a clearly defined mission to give
todays guitarists access to guitars with the look, feel and sound of
the great dreadnoughts of the 1930s. If their production guitars live
up to the exceptionally high standard set by this particular instrument,
the Merrill Guitar Co. could make quite a splash. The price for the
Merrill C-28 in Honduran rosewood is $3,500 including case. The
C-18 model lists for $2,900.

For more information, contact Merrill Guitars, 140 B Tewning


Rd., Williamsburg, VA 23185.

77
Flatpicking Guitar Magazine March/April 2000
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Coming
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Take a video lesson 000
This course is exciting, easy, & edu-
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cleverly weaving the melody notes famous for having been hired by David
throughout the chord progression. Grisman to be the Personal Trainer
Watch Dan as he takes you step- for the first David Grisman Quintet
by-step thru each song, explaining
every detail in an easy to under- album. Why? John has been a pro-
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after mastering the ones in this Classical to his Bluegrass. John
course! Carlini graduated from the Berklee
Fast, slow (with split-screen School of Music, was the musical
close-ups), phrase by phrase director for the Ice Capades, the
(with on-screen tab)
guitarist for the road company of
Grease, and has played
Will the Circle be Unbroken,
Bluegrass with his friends: Tex
Amazing Grace, Bury Me
Logan, Bill Keith, David Grisman,
Beneath the Willow, When
& Tony Rice for many years. Only John & Tony
the Saints Go Marching In,
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Washed in the Blood of the Lamb, Where the
Includes: Time & Metronome, Coltrane/Monroe connection,
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Stranger Video #6903........$29.95
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Chris takes you beyond lick orient-


Chris takes you beyond lick-orient- ed soloing, showing you how to
ed soloing by showing you how to translate banjo instrumentals into
mold a simple Bluegrass melody guitar instrumentals, by replacing
into a fancy, tasteful, driving guitar the fingerpicked banjo roll with the
solo, a solo that is faithful to the more linear guitaristic componen-
true melody, while being hot at try, while being careful to maintain
the same time. Watch Chris as he the integrity of the original banjo
analyzes and teaches 5 example piece. Watch Chris as he ana-
songs, breaking each down into lyzes and teaches 5 example
its component parts, explaining songs, & explains why he chose
why he chose what he played what he played, every step of the
every step of the way. By learn- way. By learning this approach,
ing this approach you will be you will be able to invent your
able to invent your own intelli- own intelligent, melody oriented
gent, melodic solo for each solo for any banjo instrumental
song you encounter! you encounter!
Songs taught & analyzed include: Tunes taught and analyzed
Shady Grove, Pig in a Pen, In the include: Fireball Mail, Dear Old
Pines, Bury Me Beneath the Willow, Dixie, Ruben, Cluck Old Hen,
Bridge to Portsmouth & Lonesome Road Blues
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78 Flatpicking Guitar Magazine March/April 2000
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79
Flatpicking Guitar Magazine March/April 2000
CLASSIFIEDS continued

Guitars, Strings, and Accesories:


SWAN 1935 FLATPICK D AND 1938
STEVE SWAN GUITARS stocks a wide
FLATPICK D are vintage recreations of DAN LASHBROOK
variety of new and used Santa Cruz Tony
classic 1930s D-18s made exclusively for ACOUSTIC GUITAR SET UP
Rice and Tony Rice Professional model
Steve Swan Guitars. We have supplied Fossil Ivory Bridge Pins, Nuts, and Sad-
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the finest artist grade Adirondack Spruce dles. Neck Re-sets, Fret Jobs, Crack
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from 14 currently in stock. write 1060
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just north or Berkeley.
EUPHONON COMPANY STRINGS - for Santa Cruz, Huss-Dalton, Stelling
First quality major manufacturer strings in and Gibson. Also banjos, mandolins and
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buy in music stores, without the expensive current listing. The Bluegrass Connection,
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light, light, or medium: 80/20 bronze Phone: (304) 649-2012
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BRAD DAVIS' All prices post paid. Twelve string, electric
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60 page speedpicking course for the 1938 Martin D-18 phone 515-533-2103 fax 515-533-2104
flattop guitar, licks, songs, technique Serial Number 71143.
and instruction complete w/compact disc. website http://www.dbrooker.com
Forward Bracing. Good Condition. email dbrooker@dbrooker.com
$10,500
Phone 1-440-748-2126
CD
INSIDE

S
PRESENT
TH E

BLUE RIDGE PICKING PARLOR


G
C K IN
E E D PI
O F SP by Brad Davis
E
MAGAZIN
GUITAR te Water"
PICKING "Whi
p" -- FLAT rding artist t"
ville Flatto Cain Reco "Marty Stuar
n "Nash for Raisin artist

Old Bluegrass LPs, new and used CDs,


of the
colum
vocalist Recording
Author d flattop and rist for MCA
guita
Lea Lead

GUITARS FOR SALE


Gallagher Guitars, stage and studio micor- books, videos, instruments, and accesso-
CD
e ries. Authorized Tacoma dealer. In stock:
Insid phones. For more information:
ners
for begin advanced tional
*Easy ing for rporate tradi new
*Challeng enco this exciting
how to

1943 Martin D-18, 1939 Gibson L-10,


*Learn -Downs with
Down-Up
technique

Call or email Gary Gordon,


.com
lishing
dmpub
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g@hom
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bdmpu
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, 615-26

Weissenborn copies.
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n, TN
890, Madiso
ing, Box
BDM Publish

Send check or money order to: ggordon@midwest.net, (618) 443-5051


email: blueridgepp@earthlink.net
bdm Publishing,
Box 890 Only Web: www.WMPUB.com/blueridge.html
Madison, TN. 37116 $24.99 TOR-TIS SHELL PICKGUARDS 20246 Saticoy St.
Many patterns to choose from. Impecable Canoga Park,
Order by visa/mastercard
E-mail: bdmpublishing@home.com workmanship. http://www.stringpull.com, CA 91306
615-262-5066 click on inventory or (703) 978-5479 818-700-8288
Visit our web sight: bdmpublishing.com MC/Visa

80 Flatpicking Guitar Magazine March/April 2000