Early Southern Guitar Styles

EARLY SOUTHERN
GUITAR STYLES
Photo: McGuire
Mike Seeger
EARLY SOUTHERN GUITAR STYLES
BOOKLET CONTENTS
VIDEO INDEX ................................................................................................ 2

ABOUT THIS VIDEO AND HOW TO USE IT ......................................... 4
TO LOCATE INSTRUCTION IN BASIC TECHNIQUES ..................... 4
SOME HELPFUL INFORMATION .............................................................. 5
LEARNING FROM AUDIO RECORDINGS: SOME TIPS ...................... 6
A BRIEF HISTORY OF THE GUITAR IN THE SOUTH .......................... 6
DIVERSITY OF STYLE ................................................................................... 8
ABOUT TUNINGS AND CHORD SHAPES ............................................ 8
TYPES OF GUITARS USED IN OLD-TIME MUSIC ............................... 9
STRINGS ......................................................................................................... 11
CHOOSING A GUITAR FOR OLD-TIME MUSIC ............................... 11
BUYING A GUITAR ..................................................................................... 11
CHECKING SET-UP OF ANY GUITAR .................................................. 12
SONG NOTES ............................................................................................... 13
THANKS ......................................................................................................... 22
BRIEF DISCOGRAPHY ............................................................................... 23
BRIEF VIDEOGRAPHY ................................................................................ 23
CREDITS ......................................................................................................... 24
VIDEO INDEX
Each title is followed by a brief style description and the skill level, based
on Homespun’s rating system, ranging from beginner (1) to advanced intermedi-
ate (5).
DVD titles are in bold type. Within each segment you may navigate to
points that are generally arranged in this order:
Performance
Comments, tips on style
Basics of style, if any
A slow repetition on “split-screen,” showing both hands.
Pdf files for computer use containing all tablatures and notes are on each
disc.
2—
DISC ONE
Introduction
1. Old Chisholm Trail — popular parlor-style accompaniment (1)
2. Kenny Wagner’s Surrender — Stoneman’s Galax up-pick
accompaniment (1)
3. Arizona — early flat-pick style (1)
4. Big Kid’s Barroom — back-up for free-phrased vocals (3)
5. After All Has Been Said and Done — Leadbelly, 12-string (3)
6. I’m Crazy Over You — a banjo style (4)
7. Can’t Get a Letter From Home — melodic accompaniment (4)
8. White Oak Mountain — Roscoe Holcomb banjo style (3)
9. Spanish Fandango — the most popular parlor guitar piece (4)
10. Pearly Dew — Missouri parlor piece, open C tuning (4)
11. Shakin’ the Pines in the Holler — African-American parlor (4)
12. Joe Lee’s Tune — Maryland rag-time (4)
13. Weary Lonesome Blues — West Virginia parlor blues (5)
DISC TWO
14. Fishing Blues — like Mississippi John Hurt (4)

15. Carroll County Blues — fiddle tune, blues-rag style (4)
16. Birmingham Tickle — an original finger-picking tune (4)
17. John Henry — bottleneck style, D tuning (3)
18. Worried Blues — West Virginia slide (3)
19. Guitar Rag — African-American slide classic (4)
20. Smoketown Strut — formal piano-like rag, banjo guitar (4)
21. Riley and Spencer — eccentric blues guitar style (4)
22. Buckdancer’s Choice —country rag showpiece (5)
23. Leaning on the Everlasting Arm — Elizabeth Cotten (4)
24. Johnny Doyle — Maybelle Carter’s trademark thumb-lead (3)
25. Black Jack David — Maybelle Carter’s flat-pick style (3)
—3
ABOUT THIS VIDEO AND HOW TO USE IT
The purpose of this video is to demonstrate and teach the variety
and richness of southern traditional guitar picking. If you’d like to hear slightly
different performances of these pieces or have more information on them,
listen to my Smithsonian Folkways CD “Southern Guitar Sounds” SF 40157.
Since this is a music played by ear, I urge you to listen to any piece you
plan to play at least 5 (better yet, 10) times before you try to play it, especially if
you’re going to use tab. Continue to listen to it as you learn. That way you’ll
get the sound and feeling in your mind.
This DVD deals solely with strictly traditional southern vernacular guitar
styles. I encourage you to enjoy listening to the recordings of this music listed
in the song notes and the discography and videography to best absorb and
become familiar with this music. I also encourage you to seek out and listen to
players of old-time guitar music. Then it will seem easy and natural to learn to
make this music yourself.
Although I strive here to teach you to play these styles as close as I can to
the traditional way, every player hears and plays differently and I’m no excep-
tion. Besides, I like to create a little myself, in the spirit, I hope, of my old-time
music heroes. My aim is that this documentary can be at the very least a bridge
to a better understanding and playing of traditional guitar styles.
I hope you have many years of enjoyment playing old-time music.
TO LOCATE INSTRUCTION IN BASIC TECHNIQUES

Near-beginners in a certain style may want to refer to certain
sections to learn some important basics that are part of only one segment.
These segments include basics of some of the more widely-used styles. Keep in
mind that you can select portions of each teaching session by using the “skip”
button.
Parlor guitar chord accompaniment. This is an effective style for
many songs and occasionally for ensembles.
1. Old Chisholm Trail (Disc 1)
Stoneman or Galax/MtAiry style. This is good for song accompani-
ment and excellent for very fast, driving string band playing.
2. Kenny Wagner’s Surrender (Disc 1)
Maybelle Carter style. This is my favorite all ’round guitar style for song
back-up, melody-picking and also string band players.
24. Johnny Doyle (Disc 2)
Flat-pick accompaniment. For songs and, with some modification,
string-band use.
3. Arizona (Disc 1)
4—
Finger-Picking, Country Rag-time or Country Blues Style. These
two segments teach the elements of these variously-named styles. Many of
the songs on this DVD are played in versions of this style. It’s probably best
to learn them in this order:
12. Joe Lee’s Tune (Disc 1)
23. Leaning on the Everlasting Arm (Disc 2)
Slide guitar playing.
19. Guitar Rag (Disc 2)
Bottleneck Style.
17. John Henry (Disc 2)
SOME HELPFUL INFORMATION

Note that the segments are not arranged according to skill level,
though the first few pieces are relatively easy. Choose a piece that appeals to you
and is near your present level so that you don’t get discouraged. I’ve indicated
the level of each piece from 1 to 5 in the video index above, according to
increasing complexity, using Homespun’s rating system.
Hand and finger position: If you pick the strings close to the bridge, you
get a loud sharp sound; as you move further from the bridge, you get a more
mellow, sweeter sound. With that in mind, experiment to see what suits you.
As much as possible and comfortable, place your hand so that your fingers
pick perpendicular to the strings. You’ll get better tone if you pick directly against
the strings rather than at an angle of less than 90 degrees. My finger position isn’t
always ideal in that respect.
Fingernails and finger picks: The earliest country players, especially those
with gut-strung guitars, played with their fingernails or the flesh of their fingers.
As steel strings became the norm and along with them larger guitars, as well as
a desire for volume in performance, fingerpicks and flat picks came into style.
The best male traditional players that I’ve seen had fingernails as hard as
nails. Some didn’t, and it changed their tone and style.
These days there are many different chemical nail strengtheners and
additives as well as glue-on nails, all of which have been used recently by some
players. I avoid the more chemical approaches and use a semi-natural
strengthener which, when used once or twice a week, seems to keep nails from
splitting. Nail care products can be found in chain drugstores. Filing nails
regularly with a very fine “diamond” file or the finest sandpaper (from 300 to
400 grit) is also very helpful. I don’t use a nail clipper, scissors, or the rough
cardboard-type nail files. The latter are too coarse.
The best practice for average fingernails is to keep your picking nails just
long enough for picking and to keep them as evenly smooth as possible. I wear
a glove while doing manual work or loading up the car for a trip.
—5
If I want to avoid nail breakage or if I’ve recently broken a nail, or if I want
a particular sharp or louder sound, I use a plastic thumb pick and Dunlop brass
.0225 finger picks when picking. But there is a mind-boggling variety of finger-
picks available in music stores, and you can try them out and see what suits you.
I use the round (not pointed) side of an average medium flat pick. Again, try
everything and see what suits you.
LEARNING FROM AUDIO RECORDINGS: SOME TIPS

The most important thing in learning music is to be familiar with its
sound. I’m assuming that you like the music enough to want to learn it. Listen
over and over again and get the feeling in your bones. If possible, listen to guitar
music in person. If you are using tab, don’t look at it first; use it after you’re
thoroughly familiar with the sound of the music to help you find out how to
move your fingers.
When learning from an audio recording, listen for enjoyment as well as to
learn. Then try to figure out what key it’s in, how the instrument is tuned, and
what chord formation is being used. Record album notes sometimes help you
with this. If you have to determine the tuning yourself, listen for open, ringing, or
sustaining strings, chord formations, and repetitive fingering patterns. Things are
usually done the simplest way. Remember that old-time musicians often don’t
tune to standard pitches, unless they’re playing harmonica. On these recordings
I often standard-tune my instrument low, never high. And, as you can see, I often
use a capo.
One of the best learning tools is some means of slowing down a piece so
that you catch some of the finer points you might miss at full speed. Recent
computer programs and other digital gadgets have come to market that can slow
pieces down without changing the pitch. When you use any of these, come back
often to hearing the music at proper speed so that you don’t lose the feeling of it.
It’s a good idea to alternate listening both fast and slow during your learning
process and each time you’ll hear and learn something more.
A BRIEF HISTORY OF THE GUITAR IN THE SOUTH

For a more complete version of this essay, see the notes to “Early Southern
Guitar Sounds” Smithsonian Folkways 40157.
The guitar emigrated to America in the early 19th century from Western
Europe along with players, teachers, and makers. As in Europe, it became
moderately popular in our urban parlors. It was a small, fragile, relatively
expensive gut-strung instrument then, and players were generally musically
literate, following European musical traditions. It was primarily a middle and
upper class instrument for music-making in concert and home.
During the late 1800s our country was undergoing great changes, all of
which helped make the guitar more available and attractive to everyone. The
instrument evolved; it became larger, stronger, louder and eventually in the 1890s,
6—
cheaper, due to production-line methods, the use of inexpensive native woods,
and the evolution of equally inexpensive steel strings. At the same time South-
erners were entering a dollar economy with factory jobs or cash crops, served
by new commercial means such as local stores, railways, and mail order. Music
was also undergoing commercially-driven changes, and new songs were being
composed that were friendly to the home music maker: simple tunes with a
distinct American identity that required either a good memory or minimum
music-reading ability. Many of these songs would be revived by the Carter Family
and others in the 1920s and 1930s to form the core of early commercial country
music.
Since no history of the guitar in the South has been written, it’s difficult to
know how and when distinct American vernacular guitar styles evolved. (I can’t
think of a better word than vernacular. In this use it means the styles of guitar
that were made by everyday rural people.) Based on some of my interviews with
musicians such as Elizabeth Cotten and Sam McGee as well as observing the
earliest recordings of traditional Southern guitar players, I’ll venture this specula-
tion about the process.
Sometime in the mid to late 19th century, probably starting after the civil
war, more Southerners started playing the guitar. African-Americans’ use of the
guitar gradually diverged from the styles that were played by European-Americans
so as to include more influences from their vocal, banjo, and piano sounds rather
than following solely the written parlor sounds. Elizabeth Cotten told me of
learning a tune from an older player before about 1910. So with other similar
stories we can assume that African-American rag-time guitar was probably well
established by about 1900. One can hear the level of that development listening
to early recording artists such as Blind Blake and Lemon Jefferson, who were of
about the same generation. Early European-American virtuoso Sam McGee told
of black musicians and a particular parlor guitar player that he learned from in the
early 20th century. Many other early white guitarists related being intrigued by a
black guitarist and singer that they met perhaps walking down a railroad track, a
story repeated by white players from Frank Hutchison and Dock Boggs all the
way up through Hank Williams and beyond. Other white players occasionally
made up their own styles, most notably Maybelle Carter.
After about 1900 the guitar gradually became the main Southern accompani-
ment instrument and gradually took over melodic leads as well, eclipsing both the
long-popular fiddle and the 19th century banjo. Guitars became even larger, part
of the reason that more and more players used flat or finger picks. Hawaiian
musicians and Northern urban jazz players also became influential in the South
via their recordings. The styles on this DVD represent some of the responses
everyday Southern musicians and singers brought to the guitar during this time
of discovery and embrace of this new instrument.
By the 1930s the ascendancy of the guitar in Southern vernacular music was
complete, and guitar styles progressed within a commercially-driven process.
—7
On my CD and in this DVD I demonstrate and instruct so that you can
learn many of the homegrown guitar styles that were created in the South
during this very important period of guitar evolution.
DIVERSITY OF STYLE
Except for a few guitar manuals first circulated in the mid-19th
century, there was little formalized teaching of the guitar in the rural South.
The guitar entered most Southerners’ lives as a “by ear” instrument, even
though some of the pieces had been filtered from a written parlor piece. So in
a self-sufficient culture where individuality and home-made music were
important, it’s no wonder that early guitar styles could be as varied as the
singing, fiddling, and banjo picking that helped fashion them. This DVD includes
just a sample of the many styles played in the South, and mostly the solo ones
at that. I’ve heard many more styles than we have room for here—more than I
play myself, for that matter.
Several of the styles presented here are what I call a one-person style,
played and perhaps created by one person.
A few of the traditional players I’ve known play more than one technique.
Certain styles suit certain songs or tunes better than others, and each one gives
a different effect. I’ve mentioned some of these advantages later in these notes
and on the video.
Please keep in mind that I’m playing these styles within my own stylistic
limitations. I hope that I will encourage you to listen to my mentors so that
you can play your version of their styles.
ABOUT TUNINGS AND CHORD SHAPES

Most old-time guitar players used standard tuning. Some had favorite
keys, since each chord shape has its characteristic sound. “Chord shape” is the
term I use to describe the particular look and sound of the various chord
fingerings.
Old-time-music guitar pickers would sometimes tune their instrument so
that they could sing and play in a chord formation that they wanted. This is why,
for instance, Maybelle Carter tuned her guitar three frets low, so that she could
play her favorite “C” chord but Sara Carter would be actually singing in “A.” If
they wanted to sing in a higher key they used a capo on Maybelle’s 14-frets-to-
the-body guitar.
If you’re playing two guitars together, it’s good to use two different chord
formations-for instance, one playing the usual “C” while the other capos at the
fifth fret and plays in G. Maybelle and Sara did that.
When using a capo, place it very close to the desired clamping fret so as to
not stretch the strings down to the fingerboard and make them go out of tune.
What you want to do is to actually clamp the strings firmly against the fret, not
down to the fingerboard.
8—
The alternate tunings used by early rural players come from early parlor
guitar tunings, banjo ideas, and natural inventiveness.
I’ve used 6 tunings here. GBDGBD and DGDGBD are the two well-used
G tunings, and the D tuning DADFsAD is often used as well. All of them can be
tuned up or down to suit the player or more likely the singer. The C tuning is
pretty rare, and Roscoe Holcomb is the only one I know of who uses that
banjo-like GGDGBD tuning. There are a few other tunings found in Southern
guitar music, but they’re not very widespread.
TYPES OF GUITARS USED IN OLD-TIME MUSIC

As noted above in the history of the guitar, during most of the 19th
century guitars were expensive since they were relatively hand-made, and the
banjo and fiddle dominated much of Southern rural music-making. Therefore
most Southerners would have used inexpensive factory-made instruments from
the Chicago and New York area makers around the turn of the century.
Gradually, as they perhaps became professional musicians or got better day jobs,
they would buy the more expensive instruments. We now realize that virtually
all of these types of instruments had distinctive and desirable sounds, which is
why I’ve included some of the different varieties on my recordings.
There are three basic types of wooden acoustic guitars used in Southern
rural music:
1) X-braced guitars are so-named because of the pattern of the strips of
wood bracing that criss-cross under the top, approximately under the
bridge, for purposes of strength and tone. This bracing system has been
typically used on the more expensive guitars, such as Martins and those
that copy them. These give a certain mellow, resonant sound. Typically the
ones with mahogany back and sides are more successful in front of a
microphone than the rosewood versions, which are so resonant that they
tend to be more “boomy.”
2) Ladder bracing: At least one brace is placed under the top parallel to and
approximately under the bridge. Often there are other parallel braces
under the top as well. This is a system used primarily on less expensive
guitars and usually produces a different sound than an X-braced guitar.
They usually mic well.
3) Arch-top guitars, patterned after violin design, complete with a tailpiece
instead of a pin bridge (which is used on the above two types), were
initially built by Gibson. Bracing varies; some run parallel to the strings,
violin-style, some are ladder-braced, and the 1906 Gibson I use here just
has one little ladder brace, near the sound hole. Instead of a round hole,
some use violin-like “f” holes. They typically give a crisp, less resonant
sound than the previous two “flat-top” designs. As such they’re superior if
you want to play lead guitar with a flat-top accompaniment, as Maybelle
and Sara Carter did. They’re very successful in front of a microphone.
—9
It’s very difficult to describe the tones of these three types of guitars. It’s
best to understand that the three types of guitars have been used by early
Southern players and then to educate your ear by listening to the different
types. At present most players are using X-braced guitars.
There are two basic types of resonator guitars, both of which use an
aluminum cone for their resonating medium. Both were invented and initially
produced by the Dopyera Brothers in the late 1920s.
1) National: A dome-shaped cone (sometimes 3 of them) on which the
bridge is placed. These tend to be used as fretted guitars and sound like a
cross between a very inexpensive ladder-braced guitar and a banjo guitar.
They were used a lot by country guitarists from the 1930s into the 1950s
and are now enjoying a revival.
2) Dobro: A more complex downward/upward cone with a suspension unit
(spider) on which the bridge is placed. I think they have a more metallic
tone than the National. These tend to be square-neck instruments played
Hawaiian-style with a metal slide. As such they’ve become a virtuoso
bluegrass instrument.
For convenience I generally use the Martin size numbers to approximately
describe guitar size. Here are the primary Martin guitar sizes used by contem-
porary old-time musicians, along with the measurement of the lower bout, the
widest part of the body.
Size 1 — 12 3⁄4"
0 — 131⁄2"
00 — 141⁄8" (14 fret models: 14 5⁄16")
000 — 15" (also OM)
D (Dreadnought) — 15 5⁄8"
Older guitars previous to 1900 were small, typically with lower bouts (the
widest part of the body) of less than 13 inches, perhaps a little smaller than the
Martin size “0.” The most popular guitar since about 1950 is the “Dreadnought.”
Until the about the 1920s guitars had shorter, wider necks, 12 frets to the
body, and now they’re generally 14 frets. The 12-fret models tend to have more
mellow, better-balanced treble and bass registers.
Sound characteristics:
Choice of “tone woods” affects the sound of the instrument, and each
wood has its own difficult-to-describe and arguable characteristics. Most old
guitars have spruce tops, except for some very inexpensive ones which had
various native woods. Guitar sides and backs are made from a greater variety
of woods. Rosewood is the most valued and produces a rich sustained tone;
maple yields a clear tone and mahogany a rich, less sustained tone. Oak is also
good, somewhat similar to mahogany. Of these, mahogany is usually the easiest
to amplify and record and is one of the least expensive.
10 —
STRINGS
On small guitars made before about 1940 I suggest using extra-light
strings. Sometimes when playing solo more quietly I even tune a small guitar
down a half tone, as Elizabeth Cotten did. Many pre-1930s guitars were not
made for even light steel strings, so be careful in stringing old guitars as they were
often lightly built. Prior to this time most Martins were designed for gut, not
steel, strings. Depending on the make and model, most will take extra light
strings. With all old pin-bridge guitars it’s best to be on the safe side and not put
too much stress on the top, bridge, or neck.
Pre 1900s X-braced guitars are generally designed for gut strings but usually
can take silk-and-steel or extra-light strings, the latter at some risk.
Almost all new guitars are designed to take light strings. In my opinion there
is no need for medium strings unless you’re in a hard-driving band that needs to
be loud without amplification.
CHOOSING A GUITAR FOR OLD-TIME MUSIC

Most Southern rural guitar players of the early 20th century used small,
ladder-braced, inexpensive mass-produced guitars. Small guitars—roughly the “0”
(Martin) size that at present are often called “parlor” guitars—are in my opinion
best for old-time music.
The basic physics of the guitar is that the more area of wood in the top of a
guitar, the more force you need to get it to respond. The smaller guitars respond
more easily, so they are best for bare-finger playing and also tend to have better
balance between the high and low pitch strings. The larger guitars tend to have
more bass response than treble and require picks and more strength.
More specifically, small guitars up to Martin size “0” are best for bare-finger
picking, and 00 is okay, too. Although you can use a flat pick or finger picks on
almost any guitar, they’re more appropriate (and necessary) on the larger guitars
from size 00 to Dreadnaught and the carved top and resophonic instruments.
The larger the instrument and heavier the strings, the more you need picks and a
strong touch. These are only general guidelines, and they’re all my opinion.
For all ‘round old-time music I prefer a small guitar and usually use a Martin
0-17 (an all-mahogany body) or equivalent. It’s responsive and mellow and has a
good punchy bass register that works well over a microphone.
If you’re planning to buy a new guitar for general old-time playing, I suggest
the small to medium sizes that approximate the Martin sizes 0 and 00, if possible
with a 12-fret neck.
BUYING A GUITAR
My guitar education is a continuing process, but the most basic part of
it was the first twenty years, during which I first had a gut-string guitar bought for
— 11
me, very soon bought a Dreadnought Martin, evolved to an OM-28 (a slightly
smaller guitar), and now have pretty much settled on 0-size Martins most of the
time. But I use many different kinds to get certain sounds, as on this DVD and
my CD. So for you I offer this advice.
Before you buy a guitar, play friends’ guitars and try to educate yourself
about tone you like and what kind of guitar feels good in your hands. In these
internet days it’s easy to go to the web and learn a little bit about guitars and
see what’s available. Then go to a store where they have as large a selection as
possible and try them out. In effect, educate your ear to the different possible
sounds.
It’s best as a beginner not to buy the cheapest instrument unless you have
a trusted, experienced friend to advise you. You don’t want to get something
unplayable that will discourage you.
It’s wise to try a guitar more than once as tone changes with time, place in
a room, and your mood. Don’t be rushed, especially by a salesperson as it is
their business to make a sale. Don’t buy by price alone.
There are several good relatively-inexpensive new guitars on the market at
present; just be sure to choose one made by an established maker, unless, as I
said above, you have an experienced independent advisor. It’s difficult to write
about the instrument market as of this writing (2008) as good tonewood supply
diminishes and demand increases. Asian makers are making some excellent
instruments at present and some of them can be as good as domestic hand-
made models, though not always dependably so. A good handmade guitar by a
recognized, experienced maker can cost many times what a comparable
imported model does and sound almost the same. Ultimately you should
choose a guitar that feels and sounds as you want it to. And if you’re like me,
your perception of desired tone will change over time. And certain guitars fit
certain kinds of songs better.
If you’re thinking of buying a used instrument:
Always take an experienced, trusted advisor with you. Beware. Old
guitars are difficult to appraise and can cost far more than they’re worth to put
into good playing condition. The greatest problem in a pre-1950 vintage guitar
is a bowed neck, which can make it difficult to play and tune and expensive to
fix. Inexpensive factory-made guitars are the worst in that regard, and Gibson
and the Larsen brands are typically the best. Bridges and braces come loose
sometimes as well but are less costly. The tone of an old instrument is superior
to a new one and can really be worth it. But be aware.
CHECKING SET-UP OF ANY GUITAR

When buying any guitar, just make sure that the neck is straight.
Here’s a way to do that: Sight down along the top edge of the fingerboard from
the peghead end towards the bridge. The neck should be straight. OR: hold
12 —
down the first string at the first fret and at the body (the 12th or 14th fret) and
there should be just enough space in the middle of the string, around the 6th
fret, for a piece or two of paper to pass snugly between the string and the fret.
If there’s much more space than that, the neck may not be straight and the
guitar will be more difficult to play and to play in tune. A new guitar should
have a straight neck.
You should also check that the action is set up properly—that’s the height
of the strings at both ends. That’s so that the guitar is easy to play, the strings
not buzzing, and it will play in tune. You can check that out like this:
1) I generally start at the peghead end. I press down a string between the
second and third fret, and I want to see a gap about the thickness of a
piece or two of paper between the string and first fret. OR while holding
the string down in that way, I also press the string down lightly over the
first fret, and I want to see it move slightly to contact the first fret. If the
string touches the fret the action is too low, and if the space between the
string and fret is greater than two pieces of paper it may be hard to fret
and may play out of tune. Repeat this for all six strings. The heavier strings
will be a little higher off the fret—have a slightly higher action.
2) Bridge and saddle height needs to be correct as well. The height of the
first string at the 12th (or 14th) fret should be about 1⁄8" (or 2-3mm or
about the thickness of 2 dimes) and increase gradually to a height of about
3⁄32" (or 3-4mm or about a nickel and penny thickness) for the sixth string.
If it’s too low the string may buzz; if it’s too high it’ll be hard to play and
possibly play and capo out of tune.
When bare-finger playing, you’ll want low action; when playing hard with a
pick, you’ll want slightly higher action.
Don’t try to make any adjustments at home. Take the guitar to an
experienced craftsperson. If you buy a guitar, especially a new one, it
should be properly set up.
SONG NOTES
Each segment on the DVD follows this format:
Performance
Comments on style
Basic pattern, if any
A slow split-screen repetition showing both hands simultaneously.
Each song note includes:
My source
Comments
Tips on finding recordings of players of each style to help you educate
your ear and learn other songs and tunes.
A description of the guitar I play on that segment.
— 13
Tablatures are on the DVD. Listen and watch thoroughly before using.
More complete notes on the songs and different recordings of each song
are on my CD “Early Southern Guitar Sounds,” Smithsonian Folkways 40157.
1. Old Chisholm Trail — This style was one of the most common of
early song accompaniment styles, basically a parlor guitar technique. My dad
played this style; he’d played in a guitar and mandolin club when in college in the
early 20th century.
You can find recordings of players of this style spread through LPs and
CDs but especially by Bradley Kincaid, Burl Ives (his early solo recordings), and
cowboy singer Carl Sprague. It’s very unlikely that there would have been many
guitars amongst actual cowboys out on the range in the late 1800s; more likely
there would be a fiddle, banjo, jew’s harp or harmonica.
I play a very small carved-top-and-back pin-bridge 1906 Gibson L-1 guitar.
2. Kenny Wagner’s Surrender — Composed by Andrew Jenkins, 1926.
I learned this from Ernest Stoneman’s 1927 recording; it’s about an actual 1926
event.
I picked up this style from Ernest Stoneman, whom I met and recorded in
the late 1950s and early 1960s. His guitar style was like others in the Galax,
Virginia/ Mt Airy, North Carolina area. It’s a simple, very effective style and
sounds different from others because the first finger strokes only upward on
the treble strings on the off-beat.
I’m pretty sure that Stoneman played this in F on the original recording,
which was very unusual at the time. A B-flat chord, which would be necessary
in that key, is a challenge to most singing guitarists, myself included.
I play in G shape but tune the guitar down so that it’s actually in F. (It’s
interesting to note that sometimes Ernest Stoneman tuned his guitar GADGBE
to play in the key of G.)
A number of Ernest Stoneman’s early recordings have been re-released on
CD. You can order a CD version of recordings that I made of him on a
Smithsonian Folkways LP, FA 2315. Paul Sutphin and Paul Brown are amongst
other recent players of this style.
I play a late 1930s Euphonon Dreadnought.
3. Arizona — This song was composed and sung by Jack Bryant for a
1940 recording made by Charles Todd and Robert Sonkin at the Firebaugh
Farm Security Administration Camp in California. I picked up the song from the
recording, which I heard in the mid-1940s.
Flatpicking the guitar in the 1920s was new to rural players, and it
really spread in the thirties. Here I emulate the flatpick style of Jimmie Rodgers,
a pioneer guitar singing/songwriting star. He had many emulators in the late
twenties and thirties who used the guitar for chord accompaniment of vocals
with occasional bass runs, not usually as evenly phrased as in this rendition. My
instrumental break is in a more modern style.
14 —
There are countless guitar-backed singers of this era on CD re-releases,
especially Rodgers.
I play a 1929 Martin 000-18 with a medium pick, playing fairly close to the
bridge in the key of C.
4. Big Kid’s Barroom — This song is related to “Gambling Blues” and
“Old Joe’s Barroom” and is similar to “Those Gambler’s Blues,” recorded with a
very different arrangement by Jimmie Rodgers in 1930.
My source, Anna Lee Trivette, sang this song with a style something like
this at the 1941 Galax Fiddler’s Convention. (I was there but only 8 years old
and don’t remember her.) She may have used a flat pick. This style, playing fast
up-and down-strokes with occasional accented strokes, allows for free vocal
phrasing, especially useful for previously unaccompanied songs. It’s a style used
by some singer-songwriters from 1960 on. Recorded examples of this homey
style are rare. Pleaz Mobley of Kentucky sometimes played a relaxed version of
this style, and his recordings are available at the Archive of Folk Song at the
Library of Congress. Ms. Trivette’s recording is there, too, but only on special
order. Daw Henson plays a variant of this style on “The Moonshiner,” Yazoo
boxed set #2200.
I’m playing a medium-large-size Galiano ladder-braced guitar, most likely
made by the Oscar Schmidt Company in the early 20th century.
5. After All Have Been Said and Done — This is from Huddie
Ledbetter (Leadbelly), who, before he sang it at a 1948 Minneapolis party, had
this to say about it:
“Now I want to do a cowboy number I made myself - about a cowboy
where he left home, and he had a good girl back home, a pretty girl—of
course all women is pretty… and so the man he run all over this world
trying to find a girl better than he left behind, but every time he went in,
not a girl he could find—as the one he left behind. So he rode his horse
way out on the mountain… and he was getting worried about this girl
back home cause he wasn’t treated just right like he wanted to be. He
rode and he set sideways on his horse like Gene Autry do sometimes…
and this boy was singing, he was thinking.
I made this song... It’s a 1,2,3 killer.”
The 12-string guitar was only occasionally used in Southern music, and
judging by early recordings, mostly by African Americans and of course Mexican
Americans.
I suggest getting several of Leadbelly’s recordings on Smithsonian Folkways
Recordings. He recorded for other companies as well. As of this writing this
song isn’t commercially available.
My brother, Pete Seeger, has an excellent instructional LP set devoted to
this important style, also on Smithsonian Folkways.
I use a probably-early-20th-century instrument made by Baltimorean Carl
Holzhapfel. It’s tuned B"B E'E A'A DD FsFs BB. Note that the sixth pair is
tuned two octaves apart.
— 15
6. I’m Crazy Over You — This was sung by Daw Henson, October 1937,
Billy’s Branch, Clay County, Kentucky, and recorded by Alan and Elizabeth Lomax.
Some country guitar players, both black and white, used a galloping
clawhammer banjo style. I emulate Henson’s banjo-like playing here. I couldn’t
tell for sure what open tuning he was using, but it was in A; it may have been G
capoed up. I devised one that sounds similar: CCEGCE, which I capo up one fret
to Cs. The bass note is very low and I don’t use it.
The song is a variant of the banjo song “Ruben” and similar to Lemon
Jefferson’s “Jack O’Diamond Blues.”
Other players that sometime used variations of this technique: Clayton
Horsley (Poor Black Annie, Blue Ridge Institute 001); Pete Harris (Square Dance
Calls – Little Liza Jane, Rounder CD 1821); Richard “Rabbit” Brown (on some of
his songs, various reissue CDs).
I use a 1931 Martin 0-17S, a thumb pick and two fingers with no picks.
7. Can’t Get a Letter From Home — Some solo old-time players –
banjo, guitar and fiddle, especially those in the Kentucky and West Virginia
mountains – like to play the melody of the song to accompany their singing.
Kentuckian Emry Arthur’s singing and playing on his 1929 recordings of “She
Lied” and “Ruben” suggested to me this arrangement of a song from Addie
Graham, which she sang without accompaniment on June Appal recording JA
020.
This is a good, sparse style for previously-unaccompanied songs that don’t
want to be hampered by rich chords or overbearing rhythm. This is a rarely
recorded technique. Emry Arthur didn’t bend the strings as I do here to slur
some parts of the tune.
Both of the afore-mentioned Emry Arthur recordings are on Yazoo CD
2014. I recorded “Fare You Well, Green Fields” in this style on Rounder 0278.
I use a small early-20th-century Sovereign ladder-braced guitar tuned
DADFsAD.
8. White Oak Mountain — This song comes from Kentuckian Lily May
Ledford, who sings it with banjo on June Appal CD 0078.
I picked up this guitar style from another Kentuckian, Roscoe Holcomb. It’s
just one of several styles that he plays; this one is close to one of his banjo styles
and is appropriate for backing songs that need to be free of regular 2/4 or 3/4
timing, perhaps for songs that basically need the feeling of being unaccompanied.
Roscoe Holcomb’s CDs are on Smithsonian Folkways; he is also included on
Vestapol DVD compilations.
I play a much-used 1931 Martin OM-28.
9. Spanish Fandango — 1854 is the date of one of the earliest printed
American versions of this parlor guitar piece, which has been played by urban
and rural dwellers throughout the country ever since. I’ve heard it played on
guitar and banjo, and elements of the tune appear in later tunes. The original
notation indicates the use of this tuning – DGDGBD – and sometimes the use
16 —
of harmonics. Since it’s an open chord tuning, it’s good for beginners. In open
tunings such as this, melodies can be simply played and require no chord
fingering except choosing the appropriate bass note or possibly barring all the
strings for other chords.
I learned this version from Missourian Lena Hughes (see Pearly Dew). Her
version is very close to that of Elizabeth Cotten, who was from piedmont
North Carolina.
I play a late-19th-century very small Haynes Excelsior fan-braced parlor
guitar with gut strings. Although I play with thumb and two fingers, it might
have originally been played using three fingers.
10. Pearly Dew — This is another tune that I learned from Lena Hughes,
who self-produced an LP recording of this and ten other guitar instrumentals in
the mid-1960s. While I was touring with her in the 1970s, she told me that
she’d learned this and several other tunes from fellow workers while she and
her husband Jake followed the harvests, doing farm work in the early to mid
20th century.
This piece sounds to me like it might be based on a 19th-century parlor
guitar piece. I don’t remember if she used thumb and three fingers or played as
I do here with thumb and two fingers. Although her LP is presently out of print,
there are efforts by Voyager Records to get it onto a CD release. It’s worth
searching for.
I play the same type of guitar Ms. Hughes did, a 1917 arch-top round-hole
trapeze-tailpiece Gibson.
11. Shakin’ the Pines in the Holler was played by Theopolis Lacey
Phillips on a 1975 recording, “Music From the Hills of Caldwell County,” Physical
Records LP PR 12-001. Mr. Phillips was brother-in law to well-known guitarist
Etta Baker of Morganton, North Carolina. It sounded to me like Phillips was
playing with thumb and three fingers, and in addition to the infectious tune, I
like the idea of including here what sounds like a parlor-guitar-based African
American guitar style from the hills of western North Carolina. I can’t recall
hearing any other tune like this one.
I’m playing an inexpensive small Supertone “Bradley Kincaid Houn’ Dog”
guitar, probably from the 1930s. It’s the type of guitar an admirer of the singer/
entertainer Bradley Kincaid would have wanted to mail-order from Sears,
Roebuck & Company.
12. Joe Lee’s Tune — I recorded Joe Lee of Norbeck, MD, near Washing-
ton, DC, playing this tune in 1952. He was an African American man, about 60
at the time. and had played guitar with black fiddler William Adams of Kengar,
probably in the 1920s. I picked up the tune then, and when I played it in the
kitchen while Elizabeth Cotten was cooking one evening, she stopped, washed
her hands, and asked me if she could see the guitar for a minute, saying “I think I
used a play a piece like that.” As she played, she began remembering and re-
constructing “Oh Babe It Ain’t No Lie.”
— 17
Listen to recordings of Piedmont African American players from Delaware
south to Florida to pick up the feeling and tunes in this style.
I think this is a typical piedmont ragtime tune from the early 20th century.
Though it starts in G, I think of it being in the key of C. I play it with thumb and
two fingers on a 1935 0-17H Martin with extra-light strings that’s been
converted from its original Hawaiian setup. This is the guitar that I perform
with most of the time; it’s inexpensive, mellow, and responsive for bare-finger
playing like this.
13. Weary Lonesome Blues —This is from a 1929 recording by Roy
Harvey and Leonard Copeland of Southern West Virginia, recently re-released
on County CD 3512. One guitar of this duet was certainly tuned EBEGsBE,
and the other was most likely tuned standard, capoed, and played in D shape.
Their playing is so beautifully integrated that it’s hard to tell what each is doing.
I’ve made it into a solo piece using thumb and three fingers with the guitar
tuned to DADFsAD.
I visited Mr. Copeland briefly in 1964, and he played several pieces for me
in his thumb-and-three-finger style. I believe Harvey played in that style as well,
a style I believe related to written guitar music of the period. These influences
could have come from guitar/mandolin clubs in a small southern town or city,
some of which could have been organized by Gibson Guitar Company, or
possibly by benevolent mill owners for their workers.
Both Harvey and Copeland were photographed with carved-top round-
hole Gibson guitars.
For listening I suggest Harvey and Copeland’s other recordings, some of
which have been re-released on County CD 3512 (Old-Time Mountain Guitar).
Harvey also recorded with Charlie Poole. Listening to those recordings can
help you understand the style of a single guitarist playing in this way.
I use a 1932 Selmer guitar because, despite a much-repaired top, it has
similar tone characteristics to some of those old round-hole carved-top
Gibsons. Its top is ladder-braced and slightly arched. Django Reinhardt and his
followers use this type of guitar.
Disc Two
14. Fishing Blues — Texas songster Henry Thomas recorded this piece
in 1928; he probably heard a similar popular song from earlier in the century. I
strive to play the quills like he did and also emulate his rough-hewn guitar style
at the beginning of this recording and during the vocals. My melody playing is
based on Mississippi John Hurt’s playing of “Stack O’Lee Blues,” also in D
fingering. This is a country ragtime style, usually associated with East Coast
players.
Recordings of Hurt and Thomas are available on CD and are the best
resource for truly picking up the feel of these styles.
I use a 1930s ladder-braced Kaycraft guitar with arched top and back.
18 —
15. Carroll County Blues — Carroll County Blues is a much-played fiddle
tune first recorded by Mississippians Narmour and Smith in 1929, played here in a
country ragtime/blues style. I picked up the basics of it about 1957 from Guy
Dickens, one of West Virginian Hazel Dickens’ older brothers. His sound was
more like that of fellow West Virginian Frank Hutchison than mine is. I’ve also
picked up ideas from the original recording and added some contemporary ideas.
Unfortunately Guy Dickens never recorded. If you want to get an idea of his
sound, listen to the recordings of Frank Hutchison.
I use a 1929 0-42 Martin because it both sounds well and plays easily on the
9th to 12th frets, where much of this tune is played.
16. Birmingham Tickle — I evolved this in the early 1960s based on
Elizabeth Cotten’s “Vastopol,” which got it’s name from a 19th-century parlor
guitar piece of a similar name played in this tuning. Disc collector Joe Bussard
and I named this tune after I first recorded it for his Fonotone label in 1966,
using a pseudonym, Birmingham Bill.
My tune relies on compulsive use of the “hammer-on” technique, fretting a
string shortly after it’s been picked in order to get an extra note of different
pitch. I’ve usually played this piece on this 1930s Kaycraft guitar, a pressed (not
carved) archtop with a tailpiece; it’s very responsive and possesses a unique
sound.
17. John Henry — Possibly the best known traditional American song,
significantly about an African American hero sacrificing his life in a competition
with a European American machine that was invented to eliminate his job.
This guitar technique is probably of African American origin. I’ve seen a
number of Black guitarists hold a small pocket knife between the third and fourth
fingers of their left hand to “note” the first string, imitating the voice, leaving the
first two fingers free to occasionally note other strings. Others use a glass or
metal tube over their third or fourth finger; it’s not only easier but also leaves
two or three fingers free for fretting other strings.
There are countless black guitarists who used this technique, but I usually
think of the two I knew the best, John Jackson of Virginia and North Carolinian
Lesley Riddle, both of whom recorded this song, noting the first string with a
small knife. John’s recording is on Arhoolie, and Lesley Riddle’s is on Smithsonian
Folkways.
I use a contemporary “Rock Slide” on my third finger with a slightly rusty,
well-used 1936 14-fret steel-body National resophonic guitar. I raise the first
string slightly to make it less likely that the slide will hit the neck.
18. Worried Blues — Frank Hutchison of Logan County, West Virginia,
my source for this song and arrangement, recorded this for Okeh, first in 1926
and again in 1927. It’s currently available on County CD 3519, Old-Time Music
of West Virginia, and elsewhere.
The date and place of the origin of “fretting” the strings with a hand-held
metal bar or glass bottle is unclear, but this was a technique widely used by
— 19
African American musicians by the early 20th century. One such musician, Bill
Hunt, was the source for many of Hutchison’s songs. This method, sometimes
called “slide guitar,” was also popular amongst late-19th- and 20th-century
Hawaiian guitar players, who used it to make their very different music that
eventually spawned the many “country” and “sacred” steel guitar styles still
popular today.
Hutchison’s timing is representative of many West Virginia and Eastern
Kentucky musicians who add or subtract phrases in individualistic ways. “Riley
and Spencer,“ a little later on this disc, is similar in that respect. Sherman
Lawson, a fiddler who recorded with Hutchison in the late 1920s, remarked to
me that Hutchison didn’t keep time very well. Lawson and Hutchison each had
his own concept of phrasing, not always the same.
In photographs Hutchison holds what looks like a small wooden guitar on
his lap. He used a thumb pick and probably one or two finger picks, and he
most likely used a small extension nut device over the regular nut in order to
raise the strings up high enough off the fingerboard to play with a metal slide.
Hutchison’s complete recordings are available on a two-disc set, and
separate selections are on many compilations.
I use a medium-size (approximately 000 size) early 1900s Galiano ladder-
braced guitar, probably made by the Oscar Schmidt Company.
19. Guitar Rag — Louisville guitarist and singer Sylvester Weaver
recorded two versions of this seminal piece, first in 1923 and also in 1927. The
1923 disc was the first recording by an African American country-blues guitarist.
The two versions, both probably composed by Weaver, were quite different, and
I combine them here. These recordings were enormously influential. The piece
was recorded again in 1930 by the West Virginians Roy Harvey and Jess Johnson,
and a little later by Bob Wills and his Texas Playboys, who converted it into the
country-music standard “Steel Guitar Rag.”
Weaver used a wooden guitar on these two recordings, probably with a
raised nut and without picks. His recordings are available on a variety of labels,
and two Document CDs are devoted entirely to his music, DOCD 5112 and
5113.
I use a Style 1 Weissenborn Koa-wood Hawaiian-style guitar, probably from
the late 1920s. The body of the guitar extends into a partially-hollow square
neck. This type of guitar would have rarely been used in this kind of music.
20. Smoketown Strut — This is another of Sylvester Weaver’s tunes;
he recorded this one on his second session, in 1924. He was probably the
composer of this piece, which sounds to me like a guitar version of a piano rag.
Weaver was a pioneer session guitarist as well, accompanying early blues
singers Sara Martin and Helen Humes.
Though Weaver made his recording on a wooden guitar, he made some of
his other recordings on a six-string banjo guitar. Banjo guitars were marketed
in the early 20th century and were used by both black and white musicians.
20 —
I use an 11 3⁄4" Vega Whyte Ladye banjo with skin head and a fretboard
modified to a 23 3⁄4" string length for better tone. I use Nylgut strings. Extra-light
steel is also good.
21. Riley and Spencer — My source for this song is a Fields Ward LP,
Biograph Records RC-6002A. Fields Ward, from a legendary Galax,Virginia area
musical family, said he learned this piece from a black musician around the towns
of Riley and Spencer in West Virginia. To me it’s the ultimate alcoholic’s boast/
lament. I try to play it like Fields; it’s reminiscent of the sounds of West Virginia’s
Frank Hutchison and North Carolina fiddler and guitarist Clarence Green, each
of whom had his own irregular, idiosyncratic country-blues style. Fields Ward’s
Rounder and Biograph recordings are not currently in print.
Fields used a Dreadnought-type guitar; with that in mind I played this on a
1931 Martin D-1.
22. Buckdancer’s Choice — As I was recording Sam McGee for the third
time, in 1969 and 1970, he played each of these parts at various times during the
sessions and remarked that they were all parts of the “Buckdancer’s Choice” that
he would play for dancers on and off stage. So here I play them all together. His
classic 1926 recordings of most parts of this tune are re-released on “Old-time
Mountain Guitar,” County CD 3512. His 1970 banjo-guitar version of all of the
parts is on his Arhoolie CD 9009. Whether in parts or all together, they are
classic hot country-ragtime guitar performances.
McGee was a great and influential player. He and his brother Kirk appeared
on the Grand Ole Opry and toured the South for decades. They also recorded
with Uncle Dave Macon, with whom Sam played some of the best banjo duets of
all time. Most of Sam’s early recordings have been re-released on CD.
I play a 1920 0-18 Martin. In 1926 McGee capoed a similar guitar up to F
and played “Buck Dancer’s Choice” much faster than I do.
23. Leaning on the Everlasting Arm — This well known gospel song
was composed in the late 19th century by Elisha Hoffman and Anthony Showalter.
I’ve learned it from many hearings, including some from Elizabeth. Cotten.
On the first occasion that I heard Ms. Cotten play the guitar, she played a
gospel song, first in square “church” style, then breaking into her parlor ragtime
style. I play this song in a similar fashion here.
Elizabeth Cotten evolved her left-handed style in the early 20th century, her
version of the then-contemporary East Coast African American ragtime style.
Instead of the usual right handed “bass-chord” figure, she just alternated playing
single bass strings with her first finger, playing the melody with her thumb on the
treble strings. One reason that I sound different from her is that I’m playing the
bass notes with the flesh of my thumb and the melody strings with my fingernail.
You can best hear Elizabeth Cotten on her two Smithsonian Folkways
recordings, SF 40009 and SF 40147 and you can view her on Vestapol DVD 13019.
I use an 1870s Martin 0-26, and like Ms. Cotten I tuned my C chord down
to B. Ms. Cotten played a Stella when she was young, then, about 1960, a mid-
— 21
century Martin D-18 and eventually, from the late 1960s onward, her favorite
00-18 Martin, Thanks to Alexia Smith for use of her guitar, with special thanks to
Roger Kasle.
24. Johnny Doyle — This melody and some of the text is from Buna Hicks
in the Beech Mountain region of Northwestern North Carolina (Folk-Legacy
CD22). Alexia and I combined that version with some of the text as sung by
Maggie Gant of Austin, Texas, who was recorded by John Lomax in the mid-1930s.
Alexia and I converted this previously unaccompanied ballad into a duet in a way
something like we think the Carter Family may have done with some of the
songs they picked up in their collecting and arranging process. Unlike any of the
Carter songs, though, the melody ends up on the second note of the scale.
The Carter Family always has numerous re-issues of their classic recordings.
At this time absolutely everything they recorded is available on CD. My favorites
are the boxed sets. The single CDs are rarely representative of their best music.
I use a 1934 L-10 Gibson, similar to Maybelle’s L-5. I’ve tuned it down three
frets as she always did. Alexia Smith plays an 1870s-1880s vintage 0-26 Martin
tuned down two frets and played in D.
25. Black Jack David — This song was a part of my family’s repertoire in
the 1940s, with this tune and slightly different words. Our main source was the
Gant Family of Austin, Texas, who had a rich repertoire of unusual old songs and
charming ways of singing them as a family. They were recorded by the Lomaxes
in the 1930s.
The Carter Family recorded a light-hearted version of this well-known song
with a related tune, their typical harmony, and this flat-pick guitar style. Maybelle
first picked up her flat-pick playing from her brother and then developed her
own style, which she used only occasionally. Unlike all the other styles on this
recording, the flat-pick style of guitar melody-playing is usually an ensemble style.
I use a flat-pick, and we play the same instruments as on Johnny Doyle.
THANKS
When I started this project, I was attracted by the diversity of
Southern guitar sounds and had little idea of the history of the guitar in the
South. Over the past couple of years I’ve talked with some very knowledgeable
friends, read a few books, and pondered the subject, and it’s been a time of
discovery for me.
In putting these thoughts together for this booklet, I’ve relied on the
knowledge of many others. First of all, I must thank the traditional musicians
from whom I’ve learned so much music and more than music.
I acknowledge much thanks to my partner, Alexia Smith, who helps me
develop and clarify my thoughts and straighten out sentences that I should have
known better how to make.
22 —
Others that have I’ve talked with along the way have been helpful and
encouraging. My thanks to: Joe Ayers, Jim Bollman, Todd Cambio, Heath Curdts,
George Gruhn, Philip Gura, Neil Harpe, Chris Henriksen, David Holcomb, Mike
Holmes, Catherine Jacobs, Eli Kaufman, Lyle Lofgren, Dan Margolies, Bill Malone,
Fred Oster, Scott Odell, Marc Silber, David Stutzman, Paul Wells, Phil and Vivian
Williams, Skip Williams.
A few books that were helpful:

Southern Crossing, A History of the American South, 1877–1906, Edward L.
Ayers, Oxford University Press, 1995
The Stella Guitar Book – The Guitars of the Oscar Schmidt Company, Neil
Harpe, 2004
Acoustic Guitars and Other Fretted Instruments, George Gruhn and Walter
Carter, GPI Books, 1993 (out of print, 2008; expected to be reprinted)
C.F. Martin and His Guitars, 1796–1873, Philip Gura, University of North
Carolina Press, 2003
Red River Blues, Bruce Bastin, University of Illinois Press, 1995
BRIEF DISCOGRAPHY
I’d like to encourage you to listen to and view the traditional players
listed in my song notes and in this very brief discography and videography. You
can also search websites. These recording companies tend to have a consistent
quality and commitment to traditional music: Arhoolie, Bear Family, County,
Rounder, Shanachie, Smithsonian Folkways,Vestapol,Yazoo.
These two recordings are a must for anyone interested in traditional
Southern music.
Anthology of American Folk Song edited by Harry Smith, Smithsonian
Folkways Recordings. The best introduction to Southern guitar playing, with a
great variety of artists, genres and styles. 6 CDs.
Old-time Mountain Guitar 1926–1931. County 3512. The best compilation
of early European-American Southern rural guitar styles. 1 CD.
BRIEF VIDEOGRAPHY
Very few all-guitar videos of traditional players exist; some guitar-focused
pieces appear in compilations. Listed below are some of the best videos
devoted to early traditional Southern guitar players. All are excellent record-
ings of the best early traditional players to be filmed and videoed.
Vestapol 13002 Legends of Bottleneck Blues Guitar
Vestapol 13003, 13016, 13037 Legends of Country Blues Guitar Vol. 1, 2, 3.
Vestapol 13038 Legends of the Delta Blues
Vestapol 13011 Mance Lipscomb in Concert
Vestapol 13004 Legends of Traditional Fingerstyle Guitar
— 23
Vestapol has several more DVDs of early blues players and the later
generations of rural-based players.
Instructional videos for traditional guitar playing, including mine on Carter
Family styles, are in both the Vestapol and Homespun catalogues, easily available.
Other sources that can be helpful:

The Old-Time Herald — a magazine devoted to old-time music:
PO Box 51812, Durham, NC 27717-1812
[email protected]
Mugwumps — Information on instruments — www.mugwumps.com
CREDITS
Production: Mike Seeger and Alexia Smith
Homespun production: Una Hanaburgh, Jane Traum, Happy Traum
Video production: EKS Sound and Wallace Video Media
Directed by: Keith Smith
Cameras: Greg Wallace
Sound: Keith Smith
Artistic and Production Assistance: Roy Andrade
Graphics: Sonya Cohen Cramer
Special Thanks: First Presbyterian Church, Johnson City, TN
Cover design, editorial assistance: Sonya Cohen Cramer
Cover photograph: Jeremy Ledbetter, Andre Studio, Lexington,Virginia
Tablature, booklet layout, editorial assistance: John Roberts
Extra thanks to Roger Kasle, David Grisman, and the Rex Foundation
***********
Booklet contents © 2008 Mike Seeger
DVD-SG29
Distributed by Homespun Tapes, Box 340, Woodstock, NY 12498
1-800-338-2737 — www.homespun.com
24 —
EARLY SOUTHERN GUITAR STYLES
MIKE SEEGER
TABLATURES
CONTENTS
DVD ONE DVD TWO
Old Chisholm Trail ................................................ 2 Fishing Blues ....................................................... 32
Kenny Wagner’s Surrender ................................... 3 Carroll County Blues ........................................... 34
Arizona .................................................................. 4 Birmingham Tickle ............................................. 39
Big Kid’s Barroom ................................................ 5 John Henry .......................................................... 49
After All Has Been Said and Done ....................... 8 Worried Blues ..................................................... 51
I’m Crazy Over You ............................................ 10 Guitar Rag ........................................................... 52
Can’t Get a Letter From Home ........................... 11 Smoketown Strut ................................................. 58
White Oak Mountain ........................................... 12 Riley and Spencer ................................................ 66
Spanish Fandango ............................................... 14 Buckdancer’s Choice ........................................... 67
Pearly Dew .......................................................... 18 Leaning on the Everlasting Arm ......................... 72
Shakin’ the Pines in the Holler ............................ 21 Johnny Doyle ....................................................... 76
Weary Lonesome Blues ...................................... 23 Black Jack David ................................................. 78
Joe Lee’s Tune .................................................... 28
N.B. The following symbols, for right-hand picking, are sometimes used in the music/tab presented here:
≥
≤
= down-pick p = thumb
= up-pick i = index
m = middle
a = ring
(these derive from the Spanish, “pulgar, indicio, medio, anular”)
1
OLD CHISHOLM TRAIL
Standard Tuning
C Basic Lick
4 œœ œœ œœ œœ
&4 œ œ œ œ œ œ
p a
œ a
œ
m p m
i i
E 0 0 0 0
¯
B 1 1 1 1
G 0 0 0 0
D
A 3 3
E 3 3
With Arpeggios
œœ œ œœ œ œ
C Forward Backward
& œ œ œ œ œ œ œ
p a
œ i m a
œ a m i
m p p
i
0 0 0 0
¯
1 1 1 1
0 0 0 0
3 3
3 3
Variation
C
œœ œœ œœ œœ œœ œœ œœ œœ
& œœ œœ œ œœ œœ œœ œ œœ
a
œ œ
m
i
p
0 0 0 0 0 0 0 0
¯
1 1 1 1 1 1 1 1
0 0 0 0 0 0 0 0
2 2 2 2
3 3
3 3
Waltz Tempo Jig Tempo

#### 3 ### 6
E A
œœ œœ œœ œœ œœ œœ œœ œœ
& 4 œ œ œ œ 8 œ œ œ œ
œ œ J J œ J J
œ a
m p
a
m
œ œ
p i i
0 0 0 0 0 0 0 0
¯
0 0 0 0 2 2 2 2
1 1 1 1 2 2 2 2
2 0 0
0 0 0
2
KENNY WAGNER’S SURRENDER
Standard Tuning
Basic Pattern
#
G
œ œ œ œ
& 44 œœ
œ
œœ œœ
œ
œœ
œ œ
≥ ≤ ≥ ≤
p i p i
E 3 3 3 3
¯
B 0 0 0 0
G 0 0 0 0
D 0 0
A
E 3 3
œ œ œ œ œ œ
Variation
# œœ œœ œœ œœ œœ œœ
&
œ œ
≥ ≤ ≤ ≤ ≥ ≤ ≤ ≤
p i i i p i i i
3 3 3 3 3 3
¯
0 0 0 0 0 0
0 0 0 0 0 0
3 3
Arpeggio Variations
# œ œ œ œ
& œœ œ œœ œ œ
œ œ œ œ
≥ ≤ ≤ ≥ ≤ ≤ ≤
p i i p i i i
3 3 3 3
¯
0 0 0 0
0 0 0
0
3 3 3
3
ARIZONA
Standard Tuning
Basic Lick
œœ œœ œœ œœ
C
& 44 œ œ œ œ
œ œ œ œ
Flatpick ≥ ≥ ≥ ≥
E 0 0 0 0
¯
B 1 1 1 1
G 0 0 0 0
D
A 3 3
E 3 3
Guitar Break
Swing Tempo qr = qce
F C (G‡)
j j œ
& 44 œj œ # œ œ œ œ œ œ œ œ œ œ œœ œ œ œ # œ œ œ
œ bœ œ œ œ œ
≥ ≥ ≥ ≤ ≥ ≥ ≥ ≥ ≥ ≥ ≤ ≥ ≥ ≥ ≥ ≥ ≥ ≤ ≤ ≥ ≤ ≥ ≤
0
¯
1 1 3 1 1 1
0 1 2 2 2 0 0
3 2 0 1 2 0
3 3 0 2
3 2 1
C
œœ œœ œœ
& œ œ œ œ
œ œ
œ œ œ œ œ
≥ ≥ ≥ ≥ ≥ ≥ ≥ ≥ ≥ ≥ ≥
0 0 0
¯
1 1 1
0 0 0
3 0 2 3 3
0 3 3
N.B. When teaching this break, Mr. Seeger used all down-picking. In the performance version, however, this was played
as shown above.
4
BIG KID’S BARROOM
Standard Tuning, a semitone low
Patterns using r.h. fingers
### 4 ###
A
& 4 ˙˙ œœ œœ œœ œœ œœ œ œœ œ œœ œœ œ œœ œ
œ p… ˙ œ œ œ œ œ œ œ œ œ œ œ œ œ
≥ ≥ ≥ ≥ ≥ ≥ ≥ ≥ ≥ ≤ ≥ ≤
p p i p i
¯
B 2 2 2 2 2 2 2 2 2 2 2 2
G 2 2 2 2 2 2 2 2
D 2 2 2 2 2 2 2 2
A 0 0 0 0 0
E
### œ œ œ œ ### œ œ œ œ œ œ œ œ
& œœ œœ œ œœ œ œœ œœ œ œœ œ œœœ œœœ œœœ œœœ
œ œ œ œ œ œ œ œ œ œ
œ œ œ œ œ œ
≥ ≥ ≤ ≥ ≤ ≥ ≤ ≥ ≤ ≥ ≤ ≥ ≤
p p i p i p i p i p i p i
5 5 5 5 5 5 5 5 5 5 5 5
¯
2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2
2 2 2 2 2 2 2 2
2 2 2 2 2 2 2 2
0 0 0 0 0 0
Guitar Run Example (fingers)
### 4 œ œ œ œ œ œ œ œ œ œ
& 4 œ aœ œ œ 45 œœ œœ œ œœ œ œ 44 œœ œœ œ œ
œ nœ œ nœ œ œ œ œ œ œ œ œ
5 5 5 5 5 5 5 5
¯
2 2 2 2 2 2 2 2 2 2 2 2
2 2 2
2 2
0 3 0 0 0 0 0
3
### œ œ œ œ
& œœ œœ œ œ œ aœ œ œ œ aœ œ œ
œ œ œ œ œ nœ œ œ nœ œ
nœ nœ
5 5 5
¯
2 2 2 2 2 2 2 2 2 2 2
2
2 2
0 0 3 0 0 3 0
3 3
5
### œ œ œ œ œ œ œ œ
& œœ œœ œ œ œ aœ œ œ œœ œœ œ œ
œ œ œ œ œ nœ œ nœ œ œ œ œ ˙
5 5 5 5 5 5
¯
2 2 2 2 2 2 2 2 2 2
2 2
2 2 2 2
0 0 3 0 0 0
3
Patterns using flatpick
### 4
A
˙ œ œ œ ### œ œ œ œ œ œ œ œ œ œ
& 4 ˙˙ œœ œœ œœ œœ œœ œ œœ œ œœ œœ œ œœ œ
œ ˙ œ œ œ œ œ œ œ œ œ œ œ œ œ
≥ ≥ ≥ ≥ ≥ ≥ ≥ ≥ ≥ ≤ ≥ ≤
5 5 5 5 5 5 5 5 5 5 5 5
¯
2 2 2 2 2 2 2 2 2 2 2 2
2 2 2 2 2 2 2 2
2 2 2 2 2 2 2 2
0 0 0 0 0
### œ œ œ œ œ œ œ œ
& œœ œœ œœ œœ
œ œ
œ œ
≥ ≤ ≥ ≤ ≥ ≤ ≥ ≤
5 5 5 5 5 5 5 5
¯
2 2 2 2
2 2 2 2
2 2
0 0
6
Guitar Run Example (flatpick)
### 4 œ œ œ œ œ œ œ œ œ œ œ œ 6
& 4 œ aœ œ œ œœ œœ œ œœ œ œœ œœ œ œœ œ 4
œ nœ œ nœ œ œ
5 5 5 5 5 5 5 5 5 5
¯
2 2 2 2 2 2 2 2 2 2 2 2
2 2 2 2
0 3 0 0 0
3
### 6 œ œ œ œ œ œ œ 4 œ œ œ œ œ œ œ œ
& 4 œ aœ œœ œœ œ œœ œ 4 œ a œ œ œ œœ œœ œ œœ
œ nœ œ œ nœ œ nœ œ
5 5 5 5 5 5 5 5 5 5 5 5 5
¯
2 2 2 2 2 2 2 2 2 2 2 2 2
2 2 2 2
0 3 0 0 3 0 0
3
7
AFTER ALL HAS BEEN SAID AND DONE
Standard Tuning, down 5 frets
Opening Run
### 3 nœ œ nœ œ
D A‡
œœ œœ œ œœ œœ œ œœ
& 4 œ œ œ œ
œ œ œ œ nœ œ œ bœ
3
œ
≥ ≥ ≥ ≥ ≥ ≥ ≥ ≥ ≤ ≥
p p p p p p p p i p
E 2 2 0 3 3 3 3
¯
B 3 3 2 2 2 2
G 2 2 2 2 2 2
D 0 2
A 0 2 4 3 3 2 1 0
E
Alternate fingering
### 3
D
œœ œœ
& 4 œ œ œ
œ œ œ
3
≥ ≤ ≥ ≥ ≥ ≥
p p p p p p etc.
2 2
¯
3 3
2 2
0
0 2 4
Instrumental Break
###
A E
œœ œœ œœ œœ
& œ œ œ œ œ œ œ œ œ
œ œ œ œ œ nœ œ
œ
p p p p p p p p p p p p p p…
0 0 0 0
¯
0 0 0 0
1 1 1 1
2 2 4 2
0 4 4 0 0 4 3 2
0
8
### œ œ œ œ œ œœ œœ œœ
& œœ œœ œœ œœ œ œ œ
œ œ
œ œ œ œ
≤
i
4 4 2 2 0 0 0 0
¯
0 0 0 0 0 0 0
1 1 1 1 1 1 1
0 4
0 0 0 0
### œ œ
A E
œœ œœ œœ œœ
œ œ œ œ nœ œ
œ
0 0 4 4
¯
0 0 0 0
1 1 1 1
2 2 4 2
4 0 0 4 4 3 2
0
### œ œ œ œ n œœ œœ n œœ
A‡
œœ œœ œ œœ œ œœ œ
& œ œ œ œ œ œ
œ œ œ
≥ ≤ ≥ ≤
p i p i i p i p
p
4 4 4 0 2 2 0 0 3 3 3
¯
0 0 0 2 0 2 2 2
1 1 1 1 2 2 2
2
0
0 0
9
I’M CRAZY OVER YOU
C Tuning: CCEGCE
Basic Lick or: or:
4
& 4 œœ œ œœ œ œœ œ œœ œ œœ œ œœ œ
œ œ œ œ œ œ œ œ œ œ œ œ
≥ ≥ ≤ ≥ ≥ ≤ ≥ ≥ ≤
p i m p p i p i i
t t t t
E 0 0 0 0 0 0
¯
C 0 0 0 0 0 0
G 0 0 0 0 0 0
E 0 0 0 0 0 0
C 0 0 0 0 0 0
C
Theme
& 44 œ œœ œ œœ œ œœ œ œœ œ œ œœ œ
œ œ œ œ bœ nœ œ #œ œ
œ œ #œ œ œ œ œ
≥ ≤
p i m p i m p m p p i i
0 0 0 0 0 0 0 0
¯
0 0 0 0 0
0 0 0 0 0
0 0 0 0 2 3 3 2 0 2 3
0 0 0 3
Let bass notes ring
œ œ œ œ œœ œ œœ œ œ œ œ œœ œ
& œ œœ œ œœ œ œ œ œ
œ œ
œ œ œ #œ œ
œ œ
œ bœ nœ œ #œ #œ œ œ œ
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
3 3 0 0 2 3 3 2 0 0 0 0 2 3
0 3 0 0
œ œ œ œ œ œœ œ œœ œ œ œœ œ œœ œ
& œ œœ b œ œœ œ #œ œ œ œ œ # œ œ œ œ # œ œ œ œ œ œ
0 0 0 0 0 0 0 0 0 0 0
¯
0 0 0 0 0 0
0 0 3 3 0 0 0 0 0
2 0 0 0 2 3 3 2 0 0 0
0 0 0
10
CAN’T GET A LETTER FROM HOME
Open D Tuning: DADF≥AD
Instrumental
# 4 œ œœ n œÁ œ œ œ n œ œœ œœ œ nœ œ œ nœ œ
& # 4 œ œœ œ œ œ œœ
œ œ œ
(brush)
≤ ≥ ≥ ≤ ≤ ≤ ≥ ≥ ≥ ≥ ≤ ≤ ≤ ≤
i m m i m i p p p m m m m i
t t t
≥
p p
u
D 0 0 0 0 0 0 3 0 0
Á
¯
A 0 0 0 3 0 0 0 3 0
F≥ 0 0 1 0 0
D 3 0 0
A
D 0 0 0
#
& # œ œœœ n œ œ œœœ
œœ œ n œÁ 46 œ œ n œÁ œ œ œ n œ 44 œœ œœ
œœ œœ œ œ œœ
m m i œ i i œ œ
t t u t t u
0 0 0 0 0 0 0
Á Á
¯
0 3 0 0 0 0 3 0 3 0 0 0
0 0 0 0 1 0 0
0 0 0 3 0 0
0 0 0
#
& # œ œœœ œœ
œ
n œÁ œ œ œ n œ 46 œ œœœ œœ
œœ
œœ
œœ
œ œ œ œ
t t t u u
0 0 0 0 0 0
Á
¯
0 0 0 3 0 0 0 0
0 0 1 0 0 0
3 0 0 0
0 0 0 0
11
WHITE OAK MOUNTAIN
G Tuning: GGDGBD
Basic Picking Pattern Examples
#
& 44 œ
œ œ œ œ œ œ œ œ œ
œ œ
œ œ œ œ
p i p i
D 0 0 0 0 0 0 0 0
¯
B 0
G 0 0
D 0
G
G 0 0 0 0
# œ œ œ œ œ œ œ œ œ œ
& œ œ œ œ œ œ
p i p i
0 0 0 0 0 0 0 0
¯
0 0
0 0 0 0
0 0
# œ œ. œ œ œ. œ
& œ œ J œ œ J
œ. œ.
p i p i i
p
0 0 0 0 0 0
¯
0 0 0 0
0 0
12
Instrumental
#4 #œ œ
j œ œ œ œ œ œ œ œ œ œ œ œ
& 4 œ nœ œ nœ œ œ
œ œ œ œ œ œ œ
0 0 0 0 0 0 0 0 0
¯
2 3 3 1
2 0 0
3 0 3 3
0 0 0 0 0 0 0
# œ œ œ œ œ œ b œœ œ œ œ œ œ œ œ œ œ œ œ œ œ
& œ
œ œ œ œ œ œ
0 0 0 0 0 0 0 0 0 0 0
¯
1 3
2 2 3 0 0 0 0
0 0
0 0 0 0
# #œ œ œ œ œ œ œœœ œ œ œ œ œ œ œ
j
& nœ œ œ œ nœ œ
œ œ œ œ œ œ
0 0 0 0 0 0 0 0 0
¯
2 3 3 1
2 0 0
3 0 0 3 3
0 0 0 0 0 0 0
# œ œ œ œ œ œ b œœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
& œ
œ œ œ œ œ œ
0 0 0 0 0 0 0 0 0 0 0
¯
1 3
2 2 3 0 0 0 0 0
0 0
0 0 0 0
13
SPANISH FANDANGO
Open G Tuning:DGDGBD
G Basic Pattern D
# 3 m˙ . œ ˙ .Œ œ
# m˙ . œ ˙ .Œ œ
& 4 Œ œ œ œ œ
˙. Œ ˙.
˙. i i
˙.
i i
p
p
D 0 0 0 0
¯
B 0 0 1 1
G 0 0 2 2
D 0 0
G 0
D 0
First Section
˙. G
˙. ˙ œ
D
#3 . Œ ˙. œ ˙. œ
m
œ
m
& 4 . œ œ Œ œ œ Œ̇ œ Œ Œ̇ œ
i
Œ
˙. ˙. . . ˙.
..
12 9 5 9 0 0
¯
0 0 0 1
0 0 0 0 2
0 0 0 0
0
j G G
# œ. œ ˙. œ ˙.
j j
œ œ ˙. ˙ .Œ .. .. Œ œ
m
& Œ̇ . ˙ Œ œ œ œ œ
˙. œ œ Œ̇ œ
m i
˙. ˙. .
.. ..
2 0 0 0 2 5 2 4
¯
1 0 0 0 0
2 0 0 0 0
0 0
0 0 0
œŒ̇ . ˙ œj œ
D G
# œ œ˙ œ ˙. œ œ ˙. œ œ ˙. œ œ ˙ Œ. œ œ ..
& Œ̇ Œ̇ Œ . Œ ˙.
. . ˙. ˙.
..
2 4 5 0 0 2 0 0 0
¯
0 0 1 1 0 0
0 2 2 0 0
0 0
0 0 0
0
14
˙.
C G D
# ˙. œ œ ˙.
œ œ ˙. ˙ .Œ œ œ
& Œ. Œ̇
. Œ œ œ
˙. œ
œ Œ
˙.
˙ ˙.
5 5 0 0 7
¯
5 5 0 0 7
5 5 0 0 7
0
5 5 0 7
# ˙.
G C
œ œ ˙. ˙ .Œ œ ˙. œ ˙. œ
& Œ̇ . œ œ œ Œ œ Œ̇ œ
Œ ˙. ˙. .
˙.
7 0 0 5 5
¯
7 0 0 5 5
7 0 0 5 5
0
7 0 5 5
œŒ̇ . ˙ œj œ
G D G
# ˙. ˙ Œ. œ œ ˙. œ œ ˙. œ œ ˙Œ. œ œ
& Œ œ œ ˙. Œ . Œ ˙.
˙. ˙. ˙.
0 0 0 2 0 0 0
¯
0 0 1 1 0 0
0 0 2 2 0 0
0 0 0
0 0
0
Second Section
œ ˙. œ ˙.
G j
j
# œ ˙. œ ˙.
j j
œ œ œ ˙. œ œ œ
& Œ œ Œ̇ œ Œ̇ œ Œ̇ Œ̇ œ
˙. . . . .
2 5 5 7 7 9 0 2 5
¯
0 0 0 0 0
0 0 0 0 0
0 0 0 0 0
15
œ ˙. œ ˙. j ˙. j ˙.
j j
# ˙.
& Œ̇ œ œ Œ̇ œ œ Œ̇ œ œ œ
Œ̇ œ œ œ
Œ̇ œ œ
. . . . .
5 7 7 9 0 2 9 2 7
¯
0 0 0 0 0
0 0 0 0 0
0 0 0 0 0
œ Œ. ˙ œj œ
D G
# œ œ˙ œ ˙. œ œ ˙. œ œ ˙. œ œ ˙ .Œ œ œ
& Œ̇ Œ̇ Œ ˙. Œ ˙.
. . ˙. ˙.
2 4 5 0 0 2 0 0 0
¯
0 0 1 1 0 0
0 2 2 0 0
0 0
0 0 0
0
œ ˙.
G j
# œ ˙. œ ˙. œ ˙.
j j j
& Œ œ œ Œ̇ œ œ Œ̇ œ œ ˙. œ œ Œ̇ œ œ
Œ̇
˙. . . . .
2 5 2 5 2 5 0 7 9
¯
0 0 0 0 0
0 0 0 0 0
0 0 0 0 0
œ ˙. œ ˙. j ˙.
j j
# œ ˙ œ œ˙ œ
j
˙. œ œ
Œ̇ œ œ Œ̇ œ œ Œ̇ œ œ Œ̇ ˙ œ
œ
& Œ̇ Œ̇
. . . . . .
7 9 7 9 0 2 7 2 5 2 4 5
¯
0 0 0 0 0 0
0 0 0 0 0
0 0 0 0 0 0
16
# ˙
D
j G C
˙.
˙. œ œ œ. œ ˙. ˙ .Œ Œ œ œ
& Œ̇ œ œŒ Œ
Œ̇ ˙
.
œ Œ œ œ ˙. œ
œ
. ˙. ˙.
˙.
0 0 2 0 0 0 5
¯
1 1 1 0 0 5
0 2 2 0 0 5
0 0
0 0 5
0
j G C j G
# œ . œ ˙. œ œ œ. œ œ
œ ˙. œ œ ˙ .Œ œ œ Œ̇ ˙ ˙. œ œ
& Œ̇ . ˙ Œ ˙.
Œ
˙. . Œ
˙. ˙.
7 5 0 0 7 9 7 0
¯
5 0 0 7 7 0
5 0 0 7 7 0
0
5 0 7 7 0
j
œ.
C G D
# ˙. ˙. œ œ œ œ ˙. œ œ ˙ .Œ œ œ ˙. œ œ
& œ Œ Œ̇ ˙
˙ Œ. œ ˙. . Œ ˙. Œ
˙. ˙.
0 5 7 5 0 0 0
¯
0 5 5 0 0 1
0 5 5 0 0 2
0 0
5 5 0
0
j G D G Uœ
# œ. œ ˙. œ œ ˙ Œ. œ œ ˙. œ œ ˙.
& Œ̇ . ˙ œ Œ ˙. Œ
Œ̇ œ œ
. œ œ œ
˙. ˙. œ
p
Ending
2 0 0 0 0 4 5
¯
1 0 0 1 1 0
2 0 0 2 2 0
0 0 0 0
0 0
0
17
PEARLY DEW
Open C Tuning: CGCGCE
C
4 . Œ œ œ œ Œ œ œ œ
&4 . w œ w œ
p i m i p m i m i
œAå
..
E 3 5 3 3 3 5 3 3
¯
C 4 4 4 4 4 4 4 4
G 0 0
C 0 0
G
C
G
œ œ œ œ œ Œ œ œ œ œ œ œ œ
& Œ œ œ œ œ œ œ
w w
1 3 1 1 1 3 1 1
¯
2 2 2 2 2 2 2 2
0 0
0 0
œ œ œ œ œ œ
C
œ œ œ œ œ Œ œ œ œ œ œ œ
1.
& Œw œ w
3 5 3 3 3 5 3 3
¯
4 4 4 4 4 4 4 4
0 0
0 0
64 Œ œ œ œ Œ˙ . œ œ .. 44 Œ œ œ œ œ
G C F
2.
& Œ œ œ w
w ˙. p i m p i m
p
..
1 3 1 1 0 0 5
¯
2 2 2 2 0 0 5 5
0 0 0 5
0 5
0
18
œ œ œ œ ˙ œ œ
Œ œ œ œ œ œ œ œ
G C
œ œ œ
m m m
6 œ iœ
& w 4 œ œ˙
i
œ p
˙
p p
8 5 5 7 10 7 7 8 8 8 0
¯
5 5 7 7 7 7 0 0
7 0
7 0 0
j
œ œ. œ œ ˙ œ œ
œ œ œ œ œ
m m
˙ œ
m m m
œ iœ 44
& œ œ œ˙ œ œ˙ œ
œ œ ˙
i i
p
˙ œ ˙ ˙
p p
œBå
8 12 12 12 0 8 8 8 0 5 0 3 3
¯
0 0 0 0 0 0
0 0 0
0 0 0 0 0 0
G
˙ œ Œ œ œ œ œ œ œ
& œ œ œ˙ œ œ œ œ Œ œ œ œ
w w
0 0 1 3 1 1 1
¯
0 2 2 2 2 2 2
0 0 0
0
0 0
œ œ œ
C
œ œ œ œ œ Œ œ œ œ œ œ œ Œ œ œ œ œ
&
w w
3 1 1 3 5 3 3 3
¯
2 2 4 4 4 4 4 4
0 0
0 0
19
j
‰ œj œ U
G C G C
œ œ œ œ œ 3 Œ œ œ œ 4 ‰ œ œ Ó œœ Œ
& 4 œ 4 ˙ ˙
˙. ˙.
œ
5 3 3 1 3 3 1 0
¯
4 4 2 4 2 0
0 0 0
0
0
0
20
SHAKIN’ THE PINES IN THE HOLLER
Standard Tuning
C F G C
4 œœ œ œ œ œ œœ œ œ œœ œ œ œ œ œœ œ
& 4 .. œ œ œ œ œ œ œœ ..
œ œ œ a
p
a
m
i
a m œ a
m
i
m i
p
a
m
i
a m p
a
m
i
p m
i
p
.. ..
E 0 3 0 1 0 3 0 0 0
¯
B 1 3 1 1 3 1 0 3 1 1 1
G 0 2 2 0 0 0
D 2
A 3 3
E 1 3
G‡
œœ œœ œ œ œœ œœ œœ œœ œœ
& œ œ œ œ œ œ œ œ œ œ œ œ œ
œ œ œ
p i m a
0 0 0 0 0 0 1 1
¯
1 1 1 1 1 1 0 0
0 0 0 0 0 0 0 0
2 2 2 0
3 3 3
3
C F G‡
œœ œœ œœ œœ œœ ˙˙
& œ œ œ œ œ œ œ œ œ ˙
œ œ œ œ
p
a
m
i
p œ
p
0 1 1 1 0 0
¯
1 1 1 0 1 1
0 2 2 0 0 0
2 3 0
3 2 3
0 1 3
21
Variations
C F G C
4 .. œ œ œ œ œ œ œ œœ œœ .
œ œ œ œ œ œ œ œ
&4 œ œ œ œ œ œ œ œ œ œ œ .
p p i m a m œ p i m i œ p i m a m p m
a
p m
a
p p i i
.. ..
3 0 3 0 0 0
¯
1 3 1 1 3 1 0 3 1 1 1
0 2 2 0 0 0 0
2 3 0 2
3 3
1 3
G‡
œ œ œ œ œœ œœ
& œ œ œ œ œ œ œ œ œ œ œ œ œ œ
œ œ œ œ œ œ
p i m a p i m a p i m a p i m a
0 0 0 0 0 1
¯
1 1 1 1 1 0
0 0 0 0 0 0
2 2 2 0
3 3 3 3 2
3
C F G‡ C
œ œ œ œ œœ œœ œœ œœ œœ
& œ œ œ œ œ œ œ œ œ œ œ
œ œ œ œ œ
p a m i p a m i
œ
0 0 1 1 1 0 0
¯
1 1 1 1 0 1 1
0 0 2 2 0 0 0
2 3 0 2
3 0 2 3
1 3
22
WEARY LONESOME BLUES
Basic Roll Lower Roll Exercise Roll

## 4 œ œ ## ## œ œ
& 4 œ œ œ œ œ œ œ œ œ œ œ œ œ œœ œ œœ
œ p i m œ
p i m a
p
œ i m
p a œ
p
E 0 0 0 0
¯
B 0 0 0 0 0 0
G 0 0 0 0 0 0
D 0 0 0 0 0 0
A 0 0
E 0 0
D
˙ œ ˙ ˙ ˙ œ
m m
## 4 . Œ Œ n i˙ Á œ. j
& 4 . œ
m i
œ p
œAå p
.. Á
12 12 9 9 7 7 0
¯
8 0
0 0 0 0 0 0 0 0
0 0 0 0 0 0 0 0
## œ ˙ œ j œ ˙ ( n œœÁ)
(2nd time)
n ˙Á œ.
p p p p
9 7 7
Á
0 9 7 }78Á
¯
8 0
0 0 0 0 0 0
0 0 0 0 0 0 0 0 2 4
A‡ D
## œœ œ ..
1. 2.
& œ œ œ œ œ œ
œ œ œ œ
œ p i m p p œ œ œ m
a œ
p m p p i m ap p i p i
i
..
0 0
¯
0 0 0 0
1 0 0 0 0
2 2 0 0 0 2
0 4 0 2 4 0 2 4 0
23
G D
##
& œ œ œ œ œ œ œ œ œ œ œ œ œ nœ #œ œ œ œ
œ œ œ œ œ œ
p i m p i m a i p p p i p p i
œBå
p
0 0
¯
2 2 2 0
1 1 1 0 0 0 0
0 0 0 2 0 2 3 0 2
2 2
G D
#
& # œ œ œ œ œ œ œ œ œ œ œ œ
œ nœ #œ
œ œ œ œ œ œ
œ œ œ
0 0
¯
2 2 2 0
1 1 1 0 0 0
0 0 0 2 0 2 3
2 2
0 2 4
A‡ D
# œœ œœ
& # œ œ œ œ œ œ œ œ œ œ
œ œ œ œ œ œ œ a œ
p m
i
0 0
¯
0 0 0 0
1 0 0
2 2 0 0
0 4 0 2 4 0 2 4 0
D
˙ ˙ ˙ ˙ ˙
# Œ ˙ œ w œ œ
œCå
4 4 7 7 12 7 4 7 4 0
¯
0 0 0 0 0 0 0 0 0 0
0 0 0 0 0 0 0 0 0 0
24
A‡ D
## œ œ œ œ œ œ Ó œ œ œ œ œ œ œ œ œ œ
œ œ œ œ œ œ
œ œ œ œ
2 2 2 2 0 0 0 0 4 0
¯
0 0 0 0 0 0
1 1 1 0 0 0
2 2 2 0 0 0 0
0 0 0 2 4
0 0 0 0
A‡ D
# œ œ œ œ œ œ œ œ Ó œ œ œ œ œ Ó.
& # œ œœ œ œ œ œ œ œœ œ œœ œœ œœ
œ œ œ œ œ œ
œ œ œ p p
2 2 2 2 0 0 0
¯
0 0 0 0 0
1 1 1 0 0 0 0
2 2 2 0 0 0 0
0 0 0 2 4 0
0 0 0
D
œ œ ˙ ˙ ˙ œ œ œ œ
# Œ ˙ œ ˙. œ
4 0 7 4 0 12 7 4 4 7 4 7 0
¯
0 0 0 0 0 0 0 0 0 0
0 0 0 0 0 0 0 0 0 0
A‡ D
# œ œ œ œ œ œ œ œ Ó œ œ œ œ œ œ œ œ œ œ
& # œ œœ œ œ œ œ œ
œ œ œ œ œ
œ œ œ œ
2 2 2 2 0 0 0 0 4 0
¯
0 0 0 0 0 0
1 1 1 0 0 0
2 2 2 0 0 0 0
0 0 0 2 4
0 0 0 0
25
A‡ D
## œ œ œ œ œ œ Ó œ œ œ œ œ œ œ
& œ œ œ œ œ œ œ œœ œ œ œ œ œ œ
œ œ w i p i m a
p
2 2 2 2 0 0 0 0
¯
0 0 0 0 0 0
1 1 1 0 0 0 0
2 2 2 0 0 2
0 0 0 2 4
0 0 0
G D
#
& # œ œ œ œ œ œ œ œ œ œ œ œ
œ nœ #œ œ œ œ
œ œ œ œ œ œ
p p i p p i
œBå
0 0
¯
2 2 2 0
1 1 1 0 0 0 0
0 0 0 2 0 2 3 0 2
2 2
G D
# œ œ œ œ œ
& # œ œ œ œ œ œ œ œ nœ #œ
œ œ œ œ œ œ
œ œ œ
0 0
¯
2 2 2 0
1 1 1 0 0 0
0 0 0 2 0 2 3
2 2
0 2 4
A‡ D
# œ
& # œ œ œ œ œ œ
œ œ œ œ œ œ
p i p i m a
¯
0 0 0
1 0 0
2 2 0 0 2
0 4 0 2 4 0 2 4
26
G D
##
œ œ œ œ œ œ œ œ œ œ nœ
& œ œ œ œ œ œ œ #œ œ œ œ
p i p i m a p p i p p i
œDå
5 5 0
¯
5 5 0
5 5 5 0 0 0 0
5 5 5 2 0 2 3 0 2
G D
## œ œ œ œ œ
& œ œ œ œ œ œ œ œ œ œ œ nœ #œ œ œ
œ œ
5 5 0
¯
5 5 0
5 5 5 0 0 0 0
5 5 5 2 0 2 3 0 2
œ
A
œ
D
U U U
## œ œ œ œ œ œ œ œ œ ggg œœœ
& œ œ œ œ œ œ g
i p p p p p ˙
p
7 7 ggg 00
g0
¯
7 7
7 7 7 7 8
7 7 7 9 9 7 0
9
0
27
JOE LEE’S TUNE
Standard Tuning
Fingerpicking Practice Patterns — C Chord
‰ œj œ
mj
Œ ‰ iœj œ ‰ iœj ‰ œ œ ‰ œ ij j mœ i j
& 44 œ œ œ œ
m m
œœ œ œœ œ œœ œ œœ œ œ
œ œ œ
œ
p
p
E 0 0 0 0
¯
B 1 1 1 1
G 0 0 0 0 0 0
D 2 2 2 2 2 2
A 3 3 3 3 3 3
E
‰ œ j j j
œ œ œ œ ˙ ˙ ˙
& œ œœ œ œœ œ œœ ˙œ œœ œ œœ œ œœ
0 0 0
¯
1 1 1 1
0 0 0 0 0 0 0
2 2 2 2 2 2
3 3 3 3 3 3
28
Joe Lee’s Version
G‡ j j E E‡ j j F
œ œ œ. ‰ j j
j j
& 44 œ œ œ œœ œœ
˙.
# œœ n œ # œ œ œœ
œ œ œ.
œœ ˙ œœ Ó œœ
œ œ œ
œ œ œ œ œ œ
3 1 0 0
¯
0 0 3 1
0 0 0 1 0 1 1 1 2 2
0 0 2 2 2 2 3 3
2 3
3 3 0 0 0 1
j œ.
C D j j G‡ j
‰ ˙ ˙ Œ. #œ œ œ j jœ n œ ˙
& œ œœ œ œ œœ œœ
œ œœ œ œœ œ œ œ œ
œ
œœ
œ
œœ
œ œ œ
0 3 2 1
¯
1 3 3 0
0 2 2 0 0 2 0 0 0
3 3 2 2 0 0 0 0
3 3 0
1 1 2 3 3
Œ. œ œ œ. ˙. ‰ j jœ œ œ œ. ˙ œœ Ó œœ
& œœ œœ # œœ œ nœ #œ œœ œœ
œ œ œ œ œ
œ œ œ
3 1 0 0
¯
0 3 1
0 0 1 0 1 1 1 2 2
0 0 2 2 2 2 3 3
2 3
3 3 0 0 0 1
j œ. j
C C
‰ œ œ ‰ œ œ ˙ Œ. j œj œ . ˙ œ Ó œ
& œ œœ œœ œ
œ œœ œ œ œ
¯
1 3 1 1 0 1
0 2 2 0 0 0 2 0 0
3 3 2 2 3 3 2 2
3 3 3 3
1 1 3 3
29
Œ. œ œ œ. ˙. ‰ j j œ œ œ. ˙ œœ Ó œœ
& œœ œœ # œœ œ n œ # œ œ œœ œœ
œ œ œ œ
œ œ œ œ
3 1 0 0
¯
0 3 1
0 0 1 0 1 1 1 2 2
0 0 2 2 2 2 3 3
2 3
3 3 0 0 0 1
j œ.
C
j
D
j j G‡ j
‰ œ œ ‰ œ ˙ œ Œ. œ œ œ j j œ ˙
& œ œœ œœ œ œ œ œ œ œœ
œ
œ
œ
1
¯
1 3 1 3 0
0 2 2 0 0 2 0 0
3 3 2 2 0 0 0 0
3 3 0 0
1 1 3 3
G‡ j j E j j E‡ F
Œ. œ œ œ. ˙. ‰ j jœ œ œ œ. ˙ œœ Ó œœ
& œœ œœ # œœ œ nœ #œ œœ œœ
œ œ œ œ œ
œ œ œ
3 1 0 0
¯
0 3 1
0 0 1 0 1 1 1 2 2
0 0 2 2 2 2 3 3
2 3
3 3 0 0 0 1
jœ j ‰ œj ˙
C G‡ C G‡ C
‰ œ œ Œ. j œj œ j ˙ ˙˙
& œ œœ œ œ œœ œœ œ œœ œ œ œ œ œ œœ œ œ œ ˙ ˙
œ œ œ œ œ p i m p a
m
p i
¯
1 3 1 0 1 0 1
0 2 0 0 0 0 2 0 0 0 0
3 3 2 2 3 3 2 3
3 3 3 3
1 1 3 3 3
30
Mike Seeger’s Version
j j G‡ E E‡ j F
4 j j œ œ œ œ. ˙ Ó ‰ œ œ j ˙ Ó
& 4 œ œ œœ œœ # œœ œ œ # œœ œ œ
œ œ œœ
œ œ œ nœ
œ œ œ œ œ œ
3 3 1 0 0
¯
0 3 1
0 0 0 1 1 0 1 0 2 2
0 0 2 2 0 0 3 3
2 3
3 3 0 0 0 1
j
jœ Œ # œ œ œj œ œj ˙
C
‰ j jœ œ ˙ Ó
& œ
œ œ œ œ œ œ œœ œœ œœ œ œœ œœ
œ œ œ œ œ œ
œ œ œ
3 2 2 3
¯
1 3 1 3 0
0 2 0 0 0 2 0 0
3 3 2 2 0 0 0 0
3 3 0 0 2
1 1 3
G‡ j j E E‡ j F
‰ œ œ œ œ. ˙ Ó ‰ œ œ j ˙ œ Ó œ
& œœ œœ # œœ œ œ # œœ œ n œ œ œ œ
œ
œ
3 1 0 0
¯
0 0 3 1
0 0 1 1 0 1 0 2 2
0 0 2 2 0 0 3 3
2 3
3 3 0 0 0 1
jœ j j
‰ œj ˙
C G‡ C G‡ C
‰ œ œ Œ. j œj œ œ ˙ ww
& œ œœ œ œ œœ œ œœ œ œœ œœ œ œ œ œ œ ww
œ œ
œ œ œ œ œ p i m a
m
p i
p
0 0
¯
1 3 1 0 1 0 1
0 2 0 0 0 0 0 0 2 0 0
3 3 2 2 3 3 2 3
3 3 3 3
1 1 3 3 3
31
FISHING BLUES
Standard Tuning, capo 5
j j j G j j
j
D
œ œ œ j
# # 4 œ œ œ œœ œ ‰ œ œœ œ ‰ œ œœ œ ‰ œ œœ œ ‰ ‰ œ œ ‰ œ œ œ œ œ œœ œ
œ
& 4 œ œ œ œ œœ œœ œœ # œœ œ
‰ œ Œ œ Œ œ Œ œ Œ œ Œ œ Œ œ Ó.
t t t t t t t t t
Intro
E 2 2 0 2 2 0 2 2 0 2 2 0 3 3 3 3 3 3 0 0 0 0 0 0 0
¯
B 3 3 3 3 3 0 0 0 0 3
G 2 2 2 2 0 0 0 3 0
D 0 0 0 0
A 2 2
E 3
j jœ œ œ j
# # ‰ œ œœ œ œœ œ œœ œ ‰ œ œ œœ œœ œ ‰ œ œœ œ ‰ œjn œœ # œ œ œœ Œ . œj
D A D
& œ œ. œ œ œ œ œ œ œ œ #œ œ œ œœ
Ó œ Ó . Œ Œ Œ œ
t t t t t t t t t
2 2 2 0 0 2 2 2 5 5 2 5 2 0 2 2 2 0 1 2 2 0
¯
3 3 3 2 2 2 3 0 3
2 2 2 2 2 2 2 1 2 2
0 0 0 0 0
0 0
D
jœ j j j j j G j j
D
## œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œÓ .
& œ œ œ œ œ œ œ œœ
Break
2 2 0 2 5 0 2 0 2 2 0 0
¯
3 3 3 0 3 3
2 2
0 0 0 0 0 0 0 0
0 0 0 0 2 2 0 0
# # œj œ œj œj œ œj œj œ œj œ œ Œœ ‰ œj œ
A
˙ œœ Œ œ œ œœ œ Œ
& œœ
œ œ œ œ
œ œ œ œ œ
œ œ œ œ œ œ
0 2 0 2 0 2 0 2 0 2 0 0
¯
3 3 3 3 2 2 2
2 2 2
0 0 0 0 2 2 2 2
0 0 0 0 0 0 0 0
32
D
jœ j j j j j G j j
D
## œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ Óœ
& œ
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
2 2 0 2 5 0 2 0 2 2 0 0
¯
3 3 3 0 3 3 0
2
0 0 0 0 0 0 0 0
0 0 0 0 2 2 0 0
j j j
## œ œ œ œ œ œ j œ œj œ œ j œ œj
. œ œ œ
& œ œœ œ œœ
œœ œ œ œ œ œ œ
œ œ œ œ œ œ œ œ œ œ œ œ œ œ
0 2 0 2 5 2 0 0 0 2 0 0 0
¯
0 3 3 3 0 3 3 0 3
2 2 2
0 0 0 0 0 0 0 0
0 0 0 0 0 0 0 0
j
# # œ œ œ œ œj œ œj œ œœ ‰ œ œœ œ
& œ œ ˙ œ œ
œ œ ˙
t t
2 0 0 0 2 2 2 2
¯
3 0 3 3 3
2 2
0 0 0
0 0 0
33
CARROLL COUNTY BLUES
Standard Tuning
E
j œ nœ œ œ œ œ nœ œ œ œ œ nœ œ œ œ
3 3 3
#
## # 4 n œ # œ œ n œ # œ œ n œ # œ œ œ
& 4 œ œ œ œ œ œ
œAå
œ œ œ œ œ œ
E 12 10 9 12 10 9 12 10 9
¯
B 8 9 9 12 8 9 9 12 8 9 9 12 9
G
D 9 9 9 9 9 9
A
E 0 0 0 0 0 0
j A
#### ˙ œ . œ œ œ nœ œ œ nœ œ œ œ œ
nœ #œ œ nœ œ œ œ œ
3 3
j
œ œ œ Á nœ #œ œ
&
œ œ œ œ
nœ œ œ œ œ œ œ œ œ
0 5 3 2 5 3 2
Á0
¯
12 12 12 10 1 2 2 5 1 2 2 5 0
12
9 9 9 2 2 2 2
0 0 0 0
0 0 0 0
E
j
#### œ . œ œ œ œ œ œ œ Œ Œ œœ Œ j ‰
& nœ # œœ n œ # œœ nœ #œ nœ #œ ˙ œ œœ œ
J Œ œ
œ œ ˙
t
0 0 0 0 0
¯
2 0 0
0 1 0 1 0 1 0 1 1 1
2 2 2 2 2
2
0 0 0
E
œ nœ œ œ œ œ nœ œ œ œ œ nœ œ œ œ
3 3 3
# # # # Œœ œ nœ #œ œ nœ #œ œ œ
& œ œ œ œ œ œ
œ œ œ œ œ
12 10 9 12 10 9 12 10 9
¯
9 12 8 9 9 12 8 9 9 12 9
9 9 9 9 9 9 9
0 0 0 0 0
34
j A
#### ˙ œ. œ œ œ œ n œÁ œ œ nœ œ œ œ
3
j
& œ œ œ nœ #œ œ nœ
nœ œ œ œ œ
œ œ œ œ
0 5 3 2
¯
12
9
12
9
12 9 10
9
12 Á 0
1 2
2
2 5
2
1
0 0
0 0 0 0
E
œ nœ œ œ œ j
#### # œ
3
œ œ œ. œ ˙ œ œ œ œ Œ
& œ œ n œœ # œ œœ nœ #œ nœ #œ
œ œ Œ
œ œ ˙
5 3 2 0 0 0
¯
2 2 5 0 2 0
0 1 1 0 1 0 1
2 2 2 2
0 0
0 0 0
E
# # # # Œ œœ Œ œœ œ œ nœ #œ nœ
œœ œ # œœ œ œœ œ # œœ œ
œ n œ #œ œ œ n œ #œ
œœ œ # œœ œœ
& ˙ œ œ œœ
˙ i i
œBå
t t t t t t t t t t
0 0 0 4 0 3 0 4 0 3 0 4 0 3 4 4 0 3 4
¯
0 0 0 0 0 0 0 0 0 0
1 1 4 3 4 3 4 3 4 3
2
0
# # # # œœœ œ n œœ # œ œœœ œ n œœ # œ 6 n œœ œ œœ œ œœ Œ œœ 44 Œ n œœ œ œœ œ n œ # œ
& #œ œ 4 #œ nœ œ œ
Ó ˙
˙ œ i
e 0 20e 0
p
t t t t t t t t
4 0 3 4 4 0 3 4 3 3 2 0 0 0 0
¯
0 0 0 0 0 0 0 0 3
4 3 4 3 3 2 1 1 0 1
2
0 0
35
E
œ nœ œ œ œ œ nœ œ œ œ
3 3
#### Œ œ ‰ jŒ Œ œ nœ #œ œ nœ
& œ œ nœ .. œ œ œ œ œ
˙ œ œ œ œ
œ œ œ œ
œAå
t
Variation
..
0 12 10 9 12 10 9
¯
0 0 9 12 8 9 9 12 8
1 0
2 2 1 9 9 9 9 9
2
0 0 0 0
œ j j
nœ œ œ œ œ n œ œ
3
˙ œ. œ œ œ œ œ j
#### # œ œ nœ
& œ œ œ œ œ
nœ ‰
œ œ œ œ œ œ J
12 10 9 9 10 9 10
¯
9 9 12 9 12 12 12 12 1
9 9 9 9 9 9
0 0 0 0 0 0
A
#### # œ œ nœ œ œ œ œ nœ œ œ œ œ nœ œ œ œ
3 3 3
& œ nœ #œ œ nœ #œ œ œ
œ œ œ œ œ œ
œ œ œ œ œ œ
5 3 2 5 3 2 5 3 2
¯
2 2 5 1 2 2 5 1 2 2 5 0
2 2 2 2 2 2
0 0 0 0 0 0
j j
E
#### œ . œ œ œ œ œ œj œ œ Œ Œ œœ ‰ œj Œ
1.
& n œœ # œ n œ # œœ nœ #œ ˙ œ n œœ œ ..
œ
œ œ œ ˙
t ..
0 0 0 0
¯
0 0 2 0 0 0
0 1 0 1 0 1 1 0
2 2 2 2 1
2
0 0 0 0
36
E
#### œ œ œ œ Œ Œ œœ Œ œœ œ œ nœ #œ nœ
œœ œ # œœ œ œœ œ # œœ œ
2.
& nœ #œ nœ #œ ˙ œ œ
Œ
˙ ˙ i i
œBå Variation
t t t t t t
0 0 0 0 4 0 3 0 4 0 3 0
¯
2 0 0 0 0 0 0 0
0 1 0 1 1 1 4 3 4 3
2
0 0
# # # # œœœ œ n œœ # œ œœœ œ n œœ # œ œ nœ œ n œ #œ œ nœ œ œ
& #œ œ œœ œ # œœ œ œœ œ œœ œœ œœ œœœ
Ó Œ œ
i i
œ
t t t t t t t t t t t
i
4 0 3 4 4 0 3 4 4 0 3 0 4 0 3 4 4 0 2 0 0
¯ w
0 0 0 0 0 0 0 0 0 0 0
4 3 4 3 4 3 4 3 4 2 1
0 0
####
& 46
œ œ nœ œ #œ œ nœ œ #œ œ nœ #œ œ œ nœ œ #œ œ nœ œ #œ œ nœ œ
i i i i
¯ 4 q 0w 3q 0w 4q 0w 3q 0w 4q 0w 3q 4w w 3q 0w 4q 0w 3q 0w 4q 0w 3q 0w
0
#### 6 Œ œ ‰ œj œœ œ ‰ œj n œœ œ œœ œ ‰ œj Œ œœ 44
& 4 n œœ œ nœ œ nœ #œ ˙ œ
#œ nœ œ œ ˙ ˙ Œ
˙
t t t t t
i i i i p
0 0 0 0 0 0 0 0 0 0 0
¯ q 3w 2q 0w 0
0 0 3 2 0
0 0 0 0 0 1 1
2
2
4 0
37
(E)
#### 4 Ó. ‰ œj ‰ j 3
& 4 œœ œœ œ œ œ œ nœ #œ œ gg œœœ
œ nœ œ œ œ œ œ ggg œœ
n œ
œ p p p p œ œ œ œ gg œ
Ending p
p g p
gg 00
ggg 1
0 0
¯
0 0 2 0
1 1 0 1
gg 22
gg 0
0 2 2 2 2
g
0 2 0 2
0 3 3 0 0 0
38
BIRMINGHAM TICKLE
D
# 4 ‰ j ˙ ‰ œ nœ œ œ œ œ œ œ ˙ ‰
& #4 œ œ œœ œ œ œœ œ œ œ
œ œ œ œ œ
œ œ1å
œ œ œ œ œ œ
D 0 0 3 0 2 0 0 0
¯
A 0 2 0 2 2 0 2 0 2
F≥ 0 0
D 0 0 0 0 0 0 0
A
D 0 0 0 0 0 0 0
Note: These first 4 bars are transcribed from the performance version of the tune.
j œ œj n œ œ œ œ
G
# # n œ œ œ œ œj j œ œ œ œ œ œ œ œ
& œ œ œ œ œ œ
œ œ
3 0 2 0 0 0 0 3 0 2 0 0
¯
2 0 0 2 2 0 2 2 0 2
0 0 0 0 0 0
2 2 2 2
0 0
j j œj œ œj
D A‡
# ‰ j
& # ˙ œœ œ œœ œ œ œ œ
œ
œ nœ œ œ œ
œ œ. œœ œ œœ
œ œ œ œ œ œ
0 0 0 0
¯
0 2 2 0 3 0 2 0 0 2
0 0 1 1
0 0 0 0 2 2
0 0 0 0
0 0
D
## n œ œ œ œ œ ‰ ˙.
& œœ œ œœœ œ ˙
œœ œ œœ œ œœ œœ
œ œ œ
œ œ œ
3 0 2 0 0 0
¯
2 0 2 0 2 0
1 1 0 0
2 2 0 0 0 0
0 0 0
0 0 0
39
D
## j w ‰ nœ œ œ œ ‰
œ œ œ ˙ œ œ œ
œ
& œœ œœ œ œ œœ œ
œ
œ2å œ œ œ œ œ
2 4 3 2 0 2 0 0
¯
0 2 0 2
0 0 0
0 0 0 0 0 0
0
0 0 0 0 0
‰œ œj
G
# Œ. j ˙
& # ˙ ˙ œ œ œ œ œ
œœ œœ œ œœ œœ œœ œ
œ œ œ œ œ
œ
0 0 0 2 0 0
¯
0 2 2 0 2
0 1 1 1 1
0 0 0 0 0 0
0 2 2 2 2
0
j œj œ œj
D A‡
# ‰
& # ˙ œœ œ œœ œ œ œ œ œ nœ œ œ œ
œ œ œ œ. œœ œ œœ
œ œ œ œ œ
0 0 0 0
¯
0 2 2 0 2 3 0 2 0 0 2
0 1 1
0 0 0 0 0 2 2
0 0 0
0 0
D
# nœ œ œ œ œ ‰
& # œœ œ œœœ œ ˙
œœ œ œœ œ w
œœ œœ
œ œ
œ œ œ œ
3 0 2 0 0 0
¯
2 0 2 0 2 0
1 1 0 0 0
2 2 0 0 0 0
0 0
0 0 0 0
40
œ
n ˙˙ ..Á
D
## Œ n ˙˙ Á ˙ Œ b˙Á
& œ œ œ œœ œ œ
œ œ œ œ œ œ
œ3å
7
Á 7
Á 0
Á
12
¯
8 8 11
0
0 0 0 0 0 0
0 0 0 0 0 0
j j
G
## n ˙ Á ˙ ‰ j œ ˙ œ œ œ œ œ œ
& œœ œ œœ œœ œ œœ
œ œ
Á 0 0 0 2 0 0
¯
8 0 2 0 2
0 1 1 1 1
0 0 0 0 0 0
2 2 2 2
0 0
j œj œ œj
D A‡
# ‰
& # ˙ œœ œ œœ œ œ œ œ œ nœ œ œ œ
œ œ œ. œœ œ œœ
œ œ œ œ œ œ
0 0 0 0
¯
0 2 2 0 2 3 0 2 0 0 2
0 1 1
0 0 0 0 2 2
0 0 0
0 0 0
D
# nœ œ œ œ œ ‰ j ‰
œœ œ œœœ ˙
œœ œ œœ œ
œ œ
œ œ œ œ
3 0 2 0 0 0 0
¯
2 0 2 0 2 0 2
1 1 0 0 0
2 2 0 0 0 0
0 0
0 0 0 0
41
D
## n œ œ œ œ nœ œ œ œ nœ œ œ œ
& œœ œ œ œ œ œœ œ œ œ œ œœ œ œ œ œ
œ œ œ
œ4å œ œ œ œ œ œ
3 0 2 0 0 3 0 2 0 0 3 0 2 0 0
¯
2 0 2 2 0 2 2 0 2
0 0 0
0 0 0 0 0 0
0 0 0 0 0 0
G
# nœ œ œ œ œ nœ œ œ œ œ nœ œ œ œ œ
& # œœ œ œœœ œ œœ œ œœœ œ œœ œ œœœ œ
œ œ œ œ œ
œ
3 0 2 0 0 3 0 2 0 0 3 0 2 0 0
¯
2 0 2 2 0 2 2 0 2
0 1 1 1 1 1
0 0 0 0 0 0
0 2 2 2 2
0
D A‡
# nœ œ œ œ œ nœ œ œ œ œ nœ œ œ œ œ
& # œœ œ œœœ œ œœ œ œœœ œ œœ œ œœœ œ
œ œ œ œ œ œ
3 0 2 0 0 3 0 2 0 0 3 0 2 0 0
¯
2 0 2 2 0 2 2 0 2
0 0 0 1 1 1
0 0 0 2 2 2
0 0 0
0 0 0
D
j
# nœ œ œ œ œ nœ œ œ œ œ œ œ œ œ œj œ œ
& # œœ œ œœœ œ œœ œ œœ œ œœ
œ œ œ
œ œ œ œ
3 0 2 0 0 3 0 2 0 0 2 0 2 0 2
¯
2 0 2 2 0 2 2 0
1 1 0 0
2 2 0 0 0 0
0 0
0 0 0 0
42
D
## w ‰ nœ œ œ œ ‰
& œœ œœ œ œ œ ˙
œœ œ œ œ
œ œ œ œ
œ5å
œ œ œ œ œ
4 3 2 0 2 0 0
¯
0 2 0 2
0 0 0
0 0 0 0 0 0
0
0 0 0 0 0
G
# . ‰ j j œ.
& # ˙
j
œœ œœ œ œ. œ œ œ œ œ œ œœ œ œ œ œœ œ
œ œ œ œ œ
œ
0
¯
0 2 0 2 0 2
0 0 1 0 1 0 1
0 4 0 0 0 0
0 5 2 2 2 2
0
j j œj œ œj
D A‡
# ‰ j œ œ nœ œ
& # ˙ œœ œ œœ œ œ
œ œ œ œ œ. œœ œ œœ
œ œ œ œ œ œ
0 0 0 0
¯
0 2 3 0 0 2
0 0 1 3 1 1
0 0 0 0 2 2
0 0
0 0 0 0
‰ œj
D
# nœ œ œ œ œ ‰ j œ ˙.
œœ œ œ œœ
œ œ œ œ œ
œ œ
3 0 2 0 0 0 0
¯
0 2 0 2
1 1 0 0
2 2 0 0 0 0
0 0 0 0
0 0
43
nœ j j
D
w œ œ nœ œ ˙ œ
## ‰ n œ .Á
& œœ œœ œ œ œ œ
œ œ œ œ œ œ
œ6å
12 15 12 10 9 7
Á 7
¯
8
0 0
0 0 0 0 0 0
0 0 0 0 0 0
n œ œ œ œ n œj œ . G
j j
## Á œ œ œ œ ˙ œ œ œ œ œ œ œ
& œ œ œ œœ œ œ
œ œ œ œ
œ œ
10 7 9 7
Á 0 0 0 2 0
¯
8 8 0 2 0 2
1 1
0 0 0 0 0 0
2 2 2 2
0 0
j j j j œj œ œj
D A‡
# . j œj œ j j
& # œ œœ œ œ
œ œ œ œ
œ
œ œ œ
œ œ œ. œœ œ œœ
œ œ œ œ œ œ
0 0 0 0 0 0
¯
0 2 2 0 2 0 0 0 2
0 0 1 1
0 0 0 0 2 2
0 0
0 0 0 0
D
# nœ œ œ œ œ ‰ j œ
œœ œ œ w
œœ
œ œ œ œ
œ œ œ
3 0 2 0 0 0
¯
2 0 2 0 2
1 1 0 0
2 2 0 0 0
0 0 0 0
0 0 0
44
j j j j œj œ j j j
D
## Œ . œ Œ. œ Œ. œ Œ. œ œ œ œ
& œ œœ œ œœ œ œ
œ œ
œ7å
0 0 0
(2 5) (2 5)
¯
2 5 5 5 5 5
0 0 0 0
0 0 0 0 0 0 0 0
2 5 2 5
0 0
# # œj œ œj œ n œ Œ
G
Œ Œ œ
& œ œ œ ˙œ œœ
œ œ œ œ
œ nœ œ #œ œ œ J œ œ œ œ
J
0 2 0 0
¯
4 4 3 2 0 2
1 1
0 0 0 0
5 4 3 0 1 2 2 2
j
D A‡
# . j œj œ j œ œ œ j j œj œ
& # œ œœ œ œ œ œ œ
nœ œ œ œ
œ œ œ œœ œ œœ œ
œ œ œ œ œ œ
0 0 0 0
¯
0 2 0 2 2 0 3 0 2 0 0 0 2
0 1 1
0 0 0 0 2 2
0 0
0 0 0 0
D
# nœ œ œ œ œ ‰ j œ ˙. ‰ œ œ
œœ œ œ œœ
œ œ œ œ
œ œ œ
3 0 2 0 0 0 0 2
¯
2 0 2 0 2
1 1 0 0
2 2 0 0 0
0 0 0 0
0 0 0
45
D
j w ‚ ‚
## ˙ . ‰ œ ‚
& œœ œœ œœ œœ œ
œ8å
œ œ œ œ har.12
4 2 7 <12 >
<12 >
¯
0 0 0 0 <12 >
0 0 0 0 0
0 0 0 0
‚ ‚ ‚ ‚j ‚ ‰ œ œj œ
G
##
& j œ œ œ œœ œ œ œ
har.12 # œ œ œp p i m p
œ œ œ œ œ
p
<12 > 0 2 0 0
<12 >
¯
2 2 0 2
<12 > 1 1
<12 > 0 0 0 0
1 2 2 2
j œj œ œj
D A‡
# . j œ œ œ œ. j nœ
& # œ œœ œ œ œ œœ œ œ œœœ œ œ. œœ œ œœ
œ œ œ œ œ œ
0 0 0 0 0
¯
0 2 2 0 0 3 0 2 0 0 2
0 0 0 1 1
0 0 0 0 2 2
0 0
0 0 0 0
D
# nœ œ œ œ œ ‰
œœ œ œœ œ w
œœ
œ œ œ œ
œ œ œ
3 0 2 0 0 0
¯
2 0 2 0 2
1 1 0 0
2 2 0 0 0 0
0 0 0
0 0 0
46
D
## Ó ‰ nœ œ œ œ ‰
& œœ œ œ œ œ œ œ œ ˙
œœ œ œ œ
œ œ œ œ œ
œ œ œ œ œ
œ9å
0 3 0 2 0 0 0
¯
0 2 2 0 2 0 2
0 0
0 0 0 0 0 0
0
0 0 0 0 0
j œj œ œj n œ œ œ œ œ
G
# # n œ œ œ œ œj j œj œ
& œ œ œ œ œ œ
œ œ œ œ œ œ œ œ œ œ œ
œ
3 0 2 0 0 0 0 3 0 2 0 0
¯
2 0 0 2 0 2 2 0 2
0 0 0 0 0 0
0 2 2 2 2
0
j j œj œ œj
D A‡
# ‰ j
& # ˙ œœ œ œœ œ œ œ œ
œ
œ œ œ œ œ
œ œ. œœ œ œœ
œ œ œ œ œ œ
0 0 0 0
¯
0 2 2 0 0 2 0 0 2
0 0 1 1
0 0 0 0 2 2
0 0
0 0 0 0
j
D
# nœ œ œ œ œ ‰ j
œœ œ œœ œ œ
œ œ œ n œ œ œœ œ
œ œ œ œ œ
œ œ œ
3 0 2 0 0 0 0
¯
2 0 2 0 2 2 0 3 0 2 0
1 1 0 0 0
2 2 0 0 0 0
0 0 0
0 0 0
47
j j œ œj n œ œ œ œ
A‡ D
## nœ œ œ œ
& œ . œœ œ œ œœ œœ œ œ œœ œ œœ œ œ œ œ
œ œ œ œ œ œ
œ œ
Ending
0 0 3 0 2 0 2 3 0 2 0 0
¯
0 2 2 0 2 2 0 2
1 1 1 1 0
2 2 2 2 0 0
0 0 0 0
0 0
j œj œ œj n œ œ œ œ œ
A‡
# j
& # œ œ œœœ œ n œ œ œœ œ œ œ œœ œ œœ œœ œ œœœ œ
œ œ œ œ
œ œ
0 0 0 3 0 2 0 2
¯
2 0 2 3 0 2 0 0 0 2 2 0 2
0 1 1 1 1
0 0 2 2 2 2
0 0 0 0
0 0
D
## n œ œ œ œ œ œ œ œ œ œ Uœ
& œ
œ œ œ ggg œœ
œ œ Œ g
g œœ
œ œ rit. œ ggg œ
3 0 2 0 0 2 0 0 ggg 00
ggg 00
¯
2 0 2 2
0 0 0
ggg 0
0 0 0 g0
48
JOHN HENRY
Open D Tuning: DADF≥AD j
œ. œ ˙ ˙ ˙
## 4 Ó œ œ
j
& 4 œ
D 0 2 12 12 12 12
¯
A 0
F≥
D 0 0 0 0 0 0 0 0
A
D 0 0 0 0 0 0 0 0
Use slide throughout, except where marked *.
j
w ~~~~~~~~~~~~~~ œ. œ ˙ j n˙ œ
# # œj ∑ œ
j
œ Œ
& œ œ œœ œ œ œœ œ œ œ œ
œ œ œ œ œ œ
2 12
~~~~~~~~~~~~~~
vib.
2 12 12 2 10 9
¯
0 0
0 0 0 0 0 0 0 0
0 0
0 0 0 0 0 0
j j
œ. œ œ œ. ˙ ˙
# # w ~~~~~~~~~~~~~~ ∑ œ
j
& œ œ œœ œœ œ œ œ œ œ
œ
œ œ œ œ œ œ
7
~~~~~~~~~~~~~~ 2 12 12 12 12 9
¯
0 0
0 0 0 0 0 0 0 0
0 0
0 0 0 0 0 0
Ñ j
## œ œ j œj œ .
œ nœ œ. œ ‰ œ œ nœ œ œ
& œ œ œ œ œœ
7 9 2 3 0 * 0 2 2 3 2 0 * 0
¯
0 2 2 0 2
0 0 0 0 0 0 0 0
0 0 0 0 0 0 0 0
49
j
## n œ Œ œ œ œ. j j . œ. œ nœ œ œ
3 3 2 0 * 0 2 2 3 3 2 0 * *
¯
0 2 2 0 2
0 0 0 0 0 0 0 0
0 0 0 0 0 0 0 0
## œ . j j
& œ œ œ. œ ggg www
œ œ œ ggg ww
œ gg w
0 * ggg 00
ggg 00
¯
0 0
0 0
ggg 0
g0
0 2
0
50
WORRIED BLUES
G Tuning: GBDGBD
j j j
G j
œ. œ œ œ j œ. œ œ œ j œ. œ œ œ œ
#5 œ œœ Œ œ œœ Œ œ
œ ‰
& 4 ˙ œ œœ ˙ œ œœ œ œ .
nœ nœ nœ œ œ
J J J œ
D 12 12 12 12 12
¯
B 10 12 10 12 10 12 12
G 12 0 12 0 12 0
D 12 0 12 0 12 0
B
G 10 12 12 10 12 12 10 12 12 0
Use slide throughout.
C j j G
# j œ. œ œ œ Œ j ˙ ‰ œ œ œ ‰ j Œ œ. j
&
œ
œ
œ
œ œ œ
˙ œ œ ˙ œ œ œ ˙. œ œ
bœ
J
bœ
J œ
5 5 5 0
¯
3 5 3 5 5 0
0 0
5 0 5 0 0
3 5 5 3 5 5 0 0
j
‰ œj œ œ ‰ j Œ œ .
D C G
# j œ. œ œ œ Œ j ˙ j
&
bœ
œ œœ œ œœ œ œ
˙ œ ˙ œ œ œ ˙. œ œ
œ
J
bœ
J œ
7 7 5 0
¯
4 7 3 5 5 0
0 5 0 0
7 0 5 0 0
4 7 7 3 5 5 0 0
51
GUITAR RAG
D
# 4 œ œ ˙. ˙ œ œ ˙. Ó œ
& #4 œ œ œ œœ œ œœ œ œ œ œœ œœ œ œ œ
œ œ œ
œ1å œ œ œ œ œ œ œ
D 0 2 4 0 0 2 4 0
¯
A 0 0 2 0 2 0 2
F≥ 0 0 0 0 0
D 0 0 0 0 0 0 0 0
A 0
D 0 0 0 0 0 0 0
Use slide throughout.
# œ œ ˙ œ œ œ j j j j
& # œ œ œ
œ
œ œ œœœ ˙ œœ œ œ œ œ ˙ œœ œ œ œœ
œ
œ œ œ œ œ œ
2 4 4 2 0 0 0 0
¯
2 0 2 0 0 2 0 0 2
0 0
0 0 0 0 0 0 0 0
0 0
0 0 0 0 0 0
# # œj œ . ˙
j
Ó Ó œ ˙. ˙ œ œ œœ
#œ
& œœ œœ œœ œœ œœ œœ œœ
2 4 6 7 2 4 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
## œ ˙ œ œ œ j j j j
& œœ œ œ œœœ ˙ œœ œ œœœ ˙ Ó
œ œ œ
2 4 4 2 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 2 4
52
G D
## ˙ œ
j ˙. œ œ œ ˙
j
œ #œ
& ˙ œ œ œ œœ ˙
œ œ œ #œ
J
4 5 0 2 2 4 0 1
¯
5 0
5 5
5 5 5 5 0 0 0 1
5 5 4 5 5 0 0 0 0
E A
# w œœ ˙ Ó Ó œ
& # œ œ #˙ œ œ œœ œœ œœ œ œ
œ
2 0
¯
2 7 7 0
2 7 7 7
2 2 2 7 7 7 7 0
2 2 2 2 7 7 7 7 0
D G
## œ ˙. œ œ
j
œ ˙ œ ˙œ . œ ˙œ Œ
& œ œ œ œ œ œ œœ
2 4 2 4 2 0 (1 2)
¯
2 5 5
5 0
0 0 0 0 5 5 5 0
0
0 0 0 2 5 5 5 5
j
D A D
## œ ˙. œ ˙œ . ˙ ‰ œ œ w
& œœ œœ œ œœ œœ
œ œ œ œ œ œ
œ œ œ œ œ
2 4 0 0
¯
4 7 0
0 0 0 0
0 0 7 7 0 0 0 0
0 0
0 0 4 7 7 0 0
53
D
# # œœ ˙˙œ .. œ ˙˙ œ ˙˙ œ ww œ œ œ ∑œ œ nœ
& œ œ œ
nœ œ œ œ œ
œ2å
¯
10 12 12 12 12
10 12 12 12 12
12 12 12 12 12 12 12 12 10
12 12 12 12
10 12 12 12 12
˙˙œ ..
A
# # œœ ˙˙ ˙˙ ww
œ nœ œ œ œœ ∑ œœ
& nœ œ œ œ œ œ
œ œ œ
œ œ
¯
10 12 12 12 7
10 12 12 12 7 7 7
12 12 10 12 12 7 7 7 7
12 7
10 12 12 12 7 7 7
D G
# # ˙˙ Ó ˙˙ n œ ˙˙ Œ
& œ
œ œ œ
œ
œ œ œ ˙œ . œ œ œ ˙œ
œ œœ
nœ nœ œ œ
¯
12 10 12 5 5
12 10 12 3 5 5 0
12 12 10 12 5 5 5 0
12 5 5
12 10 12 3 5 5
j
D A D
## œ ˙. ˙˙œ .. ˙ ‰ œ œ œ
& œœ œœ # œœ œ œœ œœ œ œ œœ
œ œ œ œ œ œ
œ œ œ œ
2 4 0 0 0
¯
4 7 0 0 0 2
0 0 4 7 0
0 0 7 7 0 0 0 0
7 0 0
0 0 4 7 0 0
54
D
j w ~~~~~~~~~~~~~~~
## œ w ~~~~~~~~~~~~~~~
j
œ ∑ ∑
& œœ œœ œœ œœ œœ œœ œœ œœ
œ œ
œ3å
œ œ œ œ œ œ
2 4
~~~~~~~~~~~~~~~~
vib.
2 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
A
# œ œ Ó œ œ
j
œ œ œ ˙œ . œœ ∑
& # œœ œœ œœ œœ œ œœ œœ
œ œ œ œ œ
œ œ œ œ
2 4 2 4 0 2 4
¯
4 7
0 0 0 0 7 7 7
0 0 0 0 7 7 7 7
7 7
0 0 0 0 4 7 7
D G
## œ ˙ . œ nœ
j
œ ˙ . Œ
# œ œ ˙œ œœ #œ œ
˙œ
j
& œœ œœ œ œœ œœ
J
œ œ
2 4 2 3 2 0
¯
5 5
0 0 0 2 5 5 4 5 0
0 0 0 0 5 5 5 0
0 0 0 0 2 5 5 4 5 5
D A D
# œ ˙ Œ ˙œ . ˙ ‰ œ. œ
& # œœ œœ
œ œ œœ œœ œ œ œœ
œ œ œ
2 4 0 0 0
¯
4 7 0 0 0 2
0 0 0
0 0 7 7 0 0 0 0
0 7 0 0
0 4 7 0 0
55
D
## œ ˙ œ
j ˙ œ œ
j
œ œ
j œ œ
œ
& œœ œ œ œ œ œ œ œ
œ4å
2 4 0 2 7 0 2 4 0 2 4 4 2 0 0
¯
0 2 2 0 2
0
0 0 0 0 0 0 0 0
0 0 0 0 0 0 0 0
## œ œ
j
œ œ œ
j œ œ œ j j
& œ œ
œ
œ œ œ œ œ w œœ œ
Ó
œ œ œ œ
œ
2 4 0 2 4 4 2 0 0 0
¯
2 0 2 0 0 2
0
0 0 0 0 0 0 0 0
0 0 0 0 0 2 4 0 0
## œ œ
˙
j j j j
&
œ
2 4 0 4 2 0 2 7 0 2 4 0 2 4 4 2 0 0
¯
0 2 2 0 2
0 0 0 0 0 0 0 0
0 0 0 0 0 0 0 0
## œ œ
j
œ œ œ
j œ œ œ j j j j
& œ œ œœœ ˙ œ œ œ œ w œœ œœ
œ œ œ œ
2 4 0 2 4 4 2 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
56
G D
## œ
j ww ˙˙ œœ Œ œ ˙. ˙
& œ œ œ œ œ œ œœ œœ œœ œœ œ #œ
#œ
J
2 5 5 5 2 4 0
¯
2 5 5 5 0 1
0 0 0 0
5 5 4 5 5 0 0 0 0 1
2 5 5 5 5 0 0 0 0
E A
# Œ ww ww œ
& # wwœ # œœ
j
œœ #˙ œ œ œœ # œœ œ œ œ œ
J
0
¯
2 2 4 7 7
2 2 2 0 4 7 7
2 2 2 2 0 7 7 7 7
7
2 2 2 2 4 7 7 7
G D
## j ww ˙˙ œœ Œ œ ˙. œ
& n œœ
œ œ œ œœ œœ œœ œ œ œ #œ
nœ œ œ œ œ œ œ
J
m i i
p
2 4 0
¯
3 5 5 5 0
3 5 5 5 0 0 0 0
5 5 5 0 0 0 0 1
3 5 5 5 5 0 0
E A D
# Ó ˙˙œ ‰ œ œ œj œj œ œj œ œœ
& # ˙œ œ œ œ œ ggg www
œ œ ggg ww
œ œ œ ˙ gg w
p
ggg 00
gg 0
0 0
¯
2 7 0 0 0
7 7
gg 00
2
2
2
2
2 7
7
7
7
7
0
0
0
ggg 0
57
SMOKETOWN STRUT
Standard Tuning
j G‡ C j j j j
4 œ œœ
œ œ œ œ œ œ œ œ œ Œ. œ œ œ j œ œ ˙
&4 œ œ œ œ œ œ œœ œœ œ œ œ œœ
œ œ œ œœ œ œœ œ œ œ
‰ œ œ œ œ œ œ
œ1å
E 3 3 3 3 3 3 3 3 3 3 3 3
¯
B 0 0 0 0 0 0 0 0 0 1 1 1 1 1
G 0 0 0
D 0 2 3 3 2 2 2 2 2
A 0 2 3 3 3 3
E 3 3
j j j j œ j œj j j
G‡ C
œ œ œ j œ . œ œ œ. œ œ œ œ j
& Œ œ œ œ œ œ œ œ œ
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
3 1 1 0 0 3 3 3 0
¯
0 0 3 1 1 1 1 1
0
0 0 0 0 2 2 2 2
3 3 3 3
3 3 3 3
F C
j j A‡ D G‡ C
j
˙ œ œ # œœ ˙˙ # ˙˙ œ œ œ œ.
& ˙ œœ œœ œœ œœ œ œœ ˙˙
œ
œ
œ
0 3 2 3 3 3
¯
1 3 1 2 3 0 1 1
2 2 0 2 2 0
3 3 2 2 0 0 0 2 0
3 0 3 3
1 1 3
G‡ C j j j j j
œ œ œ œ œ œ œ œ Œ . œœ œ œ œ œ œ œ œ œ ˙ œœ
& œ œ œ œ œ
œ
œœ œœ œœ œ œ œ œ œ
3 3 3 3 3 3 3 3 3 3 3
¯
0 0 0 0 0 0 0 0 1 1 1 1 1
0 0 0
0 2 3 3 2 2 2 2 2
0 2 3 3 3 3
3
58
G‡ j j j C j j j
Œ œ j œ j œ œ œ œ. œ jœ j œ œ œ œ j
& œ œ œ œ œ œ œ œ œ œ
œ
œ
œ
œ
œ
œ
œ
3 3 1 0 3 3 3 0
¯
0 0 0 3 1 1 1 1 3
0
0 0 0 0 2 2 2 2
3 3 3 3
3 3 3 3
F C
j jA‡ D G‡
j j
C (C≥)
˙ œ œ œ # œœ ˙˙ # ˙˙ Ó #
& ˙ œœ œ œœ œœ œ œœ œœ .. œ œ #œ.
œ œ œ œ œ œ œ #œ œ œ
0 3 2
¯
1 3 1 2 3 0 1 2
2 2 0 2 2 0
3 3 2 2 0 0 0
3 0 3 4 4 4
1 1 3
# œj œ œj œ œŒœ
D‡
j Gfl
jœ j œ j
‰ œ œ œ œ œ. œ
‰ œ œ œ œ œ œ œ œœ œ œ œ . œœ
œ œ œ œ œ
œ2å
0 0 0 0 0 0
¯
3 3 3 3 3 3 3
5 5 5 4 4 4 4 4
4 4 4 4 5 5 5 5
5 5
5 5 3 3 3 3
# ‰ œ œ œ œj œ œj œ œ œ œ œj œ . œ
D‡ Gfl
jœ j œ j
œ
‰ œ œ œ œ œ œ œ œœ œ œ œ . œœ
œ œ œ œ œ
0 0 0 0 0 0 0 0 0
¯
3 3 3 3 3 3 3
5 5 5 4 4 4 4 4
4 4 4 4 5 5 5 5
5 5
5 5 3 3 3 3
59
j
C G D G
# ˙ ˙ ˙ ˙ Œ œ œ œ œ j w n
& œœ œ œœ œœ
œ œ œ
3 3 3 3 2 0 2 3
¯
3 0
0 0 0
2 2 2 0 0 0 0 0
3 2 0 0 2
3 3 3
G‡ C j j j j
n ˙˙ ˙˙ ˙˙ ˙˙ Œ. œ œ œ œj œ œ œ ˙
& œ œ œ œ œ œœ œ œ œœ
œ3å
1 1 1 1 3 3 3
¯
0 0 0 0 1 1 1
0 0
0 2 3 3 2 2 2 2 2
0 2 3 3 3 3
3
G‡ j j j j C
jœ j œ j
œ œ œ j œ œ œ œ. œ œ œ œ.
& Œ œ œ œ œ œ œ œ œ œ œœ
œ œ œ
œ
3 3 3 1 0 3 0 3 3 0 3 3
¯
0 0 3 1 1 1 1
0
0 0 0 0 2 2 2 2
3 3
3 3 3 3 3 3
G‡ j j C
j œ j œj j j
œ œ œ œ œ. œ œ œ œ œ. œ œ œ œ œ œ œ œ œ.
& œ œ
œ œ œ œ
3 3 3 3 3 3 3 3 3 3 3 0
¯
0 0 1 1 1 1 3
0 2 3 3 2 2 2 2
0 2 3 3 3 3 3
3
60
F C
j j A‡ D G‡ C (C≥)
˙ œ œ œ # œœ ˙˙ # ˙˙ j j #
& ˙ œœ œ œœ œœ
œ
œ
œ
œœ ..
œ
œ œ #œ. œ œ
œ œ œ œ #œ œ œ
œ œ
0 3 2
¯
1 3 1 2 3 0 1 2 2 2
2 2 0 2 2 0
3 3 2 2 0 0 0
3 0 3 4 4 4
1 1 3
D‡ Gfl
# œ œ œ œ œ œ œ œ œ œ œ œ œ œ œœ œ œ œœ œ œ œœ œ œ œ œœ
& œ œ œ œ œ œ œ œ
œ œ œ œ
œ4å
0 0 0 0 0 0 0 0
¯
3 3 3 3 3 3 3 3
5 5 5 5 4 4 4 4
4 4 4 4 5 5 5 5
5 5
5 5 3 3 3 3
D‡ Gfl
# œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œœ œ œ œœ œ œ œœ œ œ œ œœ
& œ œ œ œ œ œ œ œ
œ œ œ œ
0 0 0 0 0 0 0 0
¯
3 3 3 3 3 3 3 3 3
5 5 5 5 4 4 4
4 4 4 4 5 5 5 5
5 5
5 5 3 3 3 3
œ œ œj œ œj w
C G D‡ G
# ˙ ˙ ˙ ˙ Œ n
& œ œ œœ œ œ œ
3 3 3 3 2 0 2 3
¯
1 0
0
2 2 2 0 0 0 0 0
3 2 0 0 2
3 3 3
61
j j
G‡
j j C
n Œ . œ œ j j
& œ œœ œ œ œ. œ œ œ
œ
j
œ œœ
j
œ œœ œ œ Ó
.
œ œ œ œ œ œ #œ œ œ
œ œ œ
œ5å
1 0 0
¯
0 0 3 1 1
0 0 0 2 0
0 0 0 0 2 2
3 3 3 4 4 4
3 3 3
j
œ œ œ œ j
G C
j j
& Óœ œœ
œ œ œ œ œj ˙ # œ Óœ œ Ó
œ œœ œ œ œ œj œ œ œ œ
œ œ œ œ œ
3 3 3
¯
0 0 1 1 0
0 2 0 0 2 0
0 0 0 1 1 1 2 2 2 2 2
3 3 3
3 3
œ.
G‡
j œ. j œ. j
j œ œ
C
j j
j j
& œ
œ
œ
œ
œ
œ
œ œ œœ œœ œ œ œ œj œj œ œ œ œ.
œ œ œ œ œ œ
œ œ œ
3 1 0 0
¯
0 0 0 3 1 1 3 3 3
0 2 0
0 0 0 0 2 2
3 3 3
3 3 3 3 0 0 0
F C
j j A‡ D G‡ C
j
˙ œ œ # œœ ˙˙ # ˙˙ œ œ œ œ j
& ˙ œœ œœ œœ œœ
œ
œœ ˙˙
œ
œ
œ œ œ
œ œ œ œ œ
œ œ
0 3 2 3 3 3
¯
1 3 1 2 3 0 1 1 0
2 2 0 2 2 0
3 3 2 2 0 0 0 2 2
3 0 3 3
1 1 3
62
G‡
j C
œ œ œ œ œ œ œ œ œ j œ œ œ œ œ œ œ œj
& œ œ œ œ œ œ œ œ œ œ œ œ œ œ œj
œ œ œ
œ
œ
œ œ
3 1 3 1 3 1 3 3 3 0 3 0 3 0 0
¯
0 0 0 0 0 1 1 1 1 1 1 1
0
0 0 0 0 2 2 2
3 3 3
3 3 3 3 0 0
F C
j jA‡ D G‡
j j j j j #
C (C≥)
œ œ # œœ ˙˙ # ˙˙
& ˙ œœ ˙ œœ œœ œ. œ œ #œ œ œ œ œ
œ œœ œ œ œœ œœ . œ œ #œ œ œ
œ œ
0 3 2
¯
1 3 1 2 3 0 1 2 2 2 3
2 2 0 2 2 0
3 3 2 2 0 0 0
3 0 3 4 4 4
1 1 3
# œj œ œj œ œŒœ
j j j
D‡ Gfl
. œ œ j œ jœ j œ œ œ
& œ œ Œ œ œ œ œ œ œ œ œ œ œ œœ œ.œ
œ œ œ œ œ œ
œ œ œ œ
œ6å
0 0 0 0 0 0
¯
3 3 3 3 3
5 5 0 4 4 4 4
4 4 4 4 5 5 5 5
5 5 5
5 5 3 3 3
# ‰ œ œ œ œj œ œj œ œ œ œ œj œ . œ
D‡ Gfl
œ œ œœ œ œ œœ œ œ œœ œ œ œ œœ
œ œ œ œ œ
0 0 0 0 0 0 0 0 0
¯
3 3 3 3 3 3 3 3
5 5 5 4 4 4 4
4 4 4 4 5 5 5 5
5 5 5
5 3 3 3 3
63
j
D‡ Gfl
# œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ.
& œ œ œ œ œ œ œ œ œ œ œ
œ œ œ œ œ
0 0 0 0 0 0 0 0
¯
3 3 3 3 3 3 3 3 3
5 5 5 5 4 4
4 4 4 4 5 5 5 5
5 5
5 5 3 3 3 3
j
C G D‡ G
# ˙ ˙ w Œ œ œ œ œ œj w n
& œ œœ œœ œ œ œ
3 3 3 2 0 2 3
¯
1 0
0 0
2 2 2 0 0 0 0 0
3 2 0 0 2
3 3 3
. j j
G‡
j j j j C (C≥)
n Œ œ œ œ œ œ œ œ œ œ j œ œj œ œj œ Ó .
& œ œœ œ œ
œ œ œ œ œ œ œ œ œ œ œ # œ # œœ œœ
œ7å
1 0 0
¯
0 0 0 3 1 1
0 0 0 2 0
0 0 0 0 2 2 3 3
3 3 3 4 4 4
3 3 3
j j
G C
j œ j Œ j
& Óœ œœ œ œ œ œ # œœœ Ó Ó
œ œœ œ œ œ œj œj œ œ œ œ.
œ œ œ
¯
0 0 0 1 3 3 3
0 2 0 0 0 2 0
0 0 0 1 1 1 2 2 2
3 3
3 3 0 0 0
64
F C
j j A‡ D G‡ C
˙
œ œ # œœ ˙˙ # ˙˙ n œ .. j j
& ˙ œœ ˙ œœ œœ œœ œ œœ œœ b œœj œœ .. œ ˙˙
˙
œ œ ˙ œ
œ œ ˙
0 3 2 1 8
¯
1 3 1 2 3 0 1 1 5 5
2 2 0 2 0 1 5 5
3 3 2 2 0 5
3 0 3
1 1 3
65
RILEY AND SPENCER
### 4
Aª‡º
œ œ œ nœ
j œ œ œ œ #œ. œ
œ }œ }œ }œœ œ
& 4 œ œ œ œ œ œ
œ p p m i p
œ p p m i p i
œ p m i i
p p p
}2 }2 }2
E 5 2 3 5
¯
B 2 2 2 5 4 2
G 2 2
D 2 2 2 2 2
A 0 0 0
E
### œ
Eª‡º
‰ n œj # œ œ œ œ œ œ n œ Á mœ
m
œ Á œ˜
i m i m
i i
&
i
nœ #œ œ Œ œ œ œ Ó
m
œ p p œ
p
5 0 0 3 Á 0
Á ˜
¯
0 0 3 3
0 1
2 2 2 2
0 3 4
0
œ œ œ
A Eª‡º
### j
#œ œ
nœ œ œ ‰ n œj # œ œ œ œ œ œ
& nœ
œ #œ œ œ œ
i
œ m i m
œ œp m m i p œ Œ
p p p
5 5 3 0 0 0
¯
1 2 2 0 0 0
0 1
2 0 1 2 2 2
0 0
0
œ œ œ œ œ
A
### n œ Á œ œ Á œ˜ j
#œ œ œ œ
& œ œ œ
nœ
œ œ
Œ œ œ i p i
p
3 Á 0
Á ˜ 5 5 5 5
¯
3 3 1 2 2 2 2
2 2 2 2 2
0 0
66
BUCKDANCER’S CHOICE
G‡ C
4 Œ Ó œ jœ j œ œ œ œ ˙ Œ œ œ œj œ œj
& 4 œ. œ bœ œ .. œ œ œ œ
‰ œ
œ
œ
œ
œ
œ
œ œ œ œ œ œ
œ1å (Prologue)
E
..
3 3 1 1 3 }0 }0 3 3
¯
B 1 0 0 3 1 1
G 0 3 2 0
D 0 0 0 2 2
A 0 3 3
E 3 3 3 3
Note: Play the parenthesised notes in the tab on repeats.
G‡
œ œ œ œ ˙ œ
œ œ
j œ j
œ œ œ œ
œ ˙
& œ œ œ œ œ œ
0 0 3 }1 }0 3 3 1 1 3 }0 }0
¯
3 0 0 3
0
2 0 0 0
3 3 0 0
3 3 3 3
C F C
œ œ œj œ œj œ œ œ œ ˙ ‰ œ. œ ˙ œ
& Œœ œ œœ Ó œœ ˙ œ
œ œ
3 3 0 0 3 }1 0 3
¯
1 1 3 1 3
}02
0 2 2 0 0
2 2 2 3 3 2 2
3 3 3 3 3 3
1 1
F G C F
j œ j j j j ˙
œ œ œ. œ Ó œœœ ˙
& œ œ œ œ œ œ œ œ œ
œœ œœ
œ œ œ œ
0 3
¯
1 0 1 1 3
2 0 0 0 0 2 2
3 0 2 2 3 3
3 3
1 1 1 1
67
C F G C C
‰ œ. ˙ j j Ó. Ó.
1. 2.
& œ œœ œ œ œ œ œ œ œ œ œ .. œ
œ œ œ œ œ œ bœ œ œ œ œ nœ
œ œ
accel.
..
0 3
¯
1 0 1
0 0 2 0 0 0
2 2 3 0
3 3 3 3 1 0 3 0 2
1 1 3
j j j j
C F C G
œ œ œ. œ œ œ. ˙ ˙
Faster
& .. œœ . œœ œ œ œ œœ ˙œ œ
œ.
œ œ œ œ œ œ
œ œ œ
œ2å
..
0 0 3
¯
1 3 1 1 3
0 2 2 0
2 2 3 2 2 2 0 0
3 3 3 3 3
1 3 3
C
j j F C F G‡ C
œ œ œ. jœ j œj
œ œ œj œj œ . œ ˙
1.
& œœ . œœ ‰ œ. œ œ œ ..
œ œ œ ˙œ œ ˙
œ œ œ œ
..
0
¯
1 3 1 0 0 1
0 2 0 2 2 2 0
2 2 3 2 3 3 0
3 3 3 3
1 1 1 3
G‡ C C E (Am) C G
j j ‰ j
2.
Œ # œœ ‰ œ. Œ œœ
& œ œ. œ œ. œ .. œœ œœ
œ œœ œœ œ œœ œœ
œ ˙ œ œ œ œ œ
œ œ
œ3å
..
¯
0 1 1 0 1 3
0 0 1 2 0 0 0 0 0
0 2 2 0 2 2 0
3 3 2 0 3 3
3 3
68
C C E (Am) C
‰ œ j œ. j Œ ‰ Œ
& œ œœ œ œ œœ # œœœ œ. œ œœ
0 3
¯
1 1 0
0 0 0 1 2 0 0
2 2 2 2 0 2
3 3 3 2 0 3
F G‡ C G‡ C
j œ j œj j j œ. j j
1. 2.
œ .. 46 œ œ . œ
œ. œ Œ Ó 44
& œ œ œ œ œ œ œ œ ˙ œ
Lead-in to œ4å
..
¯
1 0 0 1 0 1
2 2 2 0 0
3 3 0 0
3 3 0 2
1 1 3 3 3
j œj
C j j E‡
œ œ œj œ œ œ œ. œ œ œj œ j
& 44 .. Œœ œ œ
œ œ
œ œ
Œ
œ œ
œ
œ œ œ œ œ
œ4å
..
3 3 3 3 0 0
¯
1 1 1 1 0 0
2 2 2 2 2 2
3 3
3 3 0 0
j j j
F
j j j
&
œ œ
# œœ
œ œ œ. œ œœ œ œj œ œ œj œ œ œ œ œ œ . œ
œ
œ œ œ œ œ œ
0 0
¯
0 3 1 1 1 1 1 3
1 2 2 2
2 2 3 3 3 3
0 0 1 1 1 1
69
C
˙ ˙ ˙ ‰ œ j Ó ∑
& œ ˙ œœ œœ ..
œ œ œ
..
0 3 0
¯
3 1
0 0
2 2 2 2 2 2
3 3 3 3 0 0 3
3 3 3
j œj j j
E‡ F
œ œ œj œ œ œ œ. œœ œ œj œ œ œj
& Œ œ œ œ œ # œ
œ œ
œ
œ œ œ œ œ œ
œ5å
0 0 0 0
¯
0 0 0 3 1 1 1
1 2 2
2 2 2 2 3 3
0 0 0 0 1 1
C
j j j œ. ˙ ˙ ˙ j
& œ œ œ œ œ ‰ œ œ
œ œ œ
0 3 0
¯
1 1 3 3 1
2
3 3 2 2 2 2
3 3 3
1 1 3
1. 2.
Ó
œœ ∑
∑
& ˙œ œœ .. ˙ œœ ‰ œ . œœ 46
..
¯
1
0 0 0 0
2 2 2 2
3 0 0 3 3 3 0 2
3 3 3 3
70
C j j j
F
j
6 œj œ œ
j œ
œ œ œ œ j j œ j œ œ
j j
œ œ. œ
& 4 œ œ œ œ œ œ œ œ œ
œ œ œ
œ œ œ
œ6å
0 3 0
¯
1 1 1 1 1 3 1
0 2 2 2 2
2 2 2 3 3 3
3 3 3
1 1 1
j œj j j j j
C G‡ C
jœ œ .
œ œ œ. 44 œj œ œj ˙ œ œ œ.
& œœ œ œ œ œ œ œ œ 46 Óœ œœœ œ œœ œ œ
œ œ œ œ
0 3 0 1 3 0
¯
1 1 1 1 0 1 1
0 0 0 0
2 2 2 0 0 2 2 2
3 3 3 3 3 3
3 3
F
j
G j
j j j j œ. œ œ #œ œ
& ‰ œ œ œ œ œ œ œ œ œ # œ œœ 44
œ œ œ œ ˙.
œ œ œ œ
5 3 0
¯
1 3 1 0 4
2 2 2 0 3
3 3 3 0 0
1 1 1 3
C (G‡) j C
.
. œ ˙ ggg œœœ Œ
1. 2.
& 44 ˙
Ó Œ .. 44 œ Œ
j j ggg œœœ
Œ œ œ œ œ œ œ œ œ œ œ œ œ
i p p p p p
g p
1
.. ggg 01
ggg 02
¯
1 1
gg 3
3
0 2 3
3
0 2
3
0
3
0 3
gg 3
71
LEANING ON THE EVERLASTING ARM
Standard Tuning
Melody, Straight Time

C F
4 ˙ ˙ œ œ ˙ ˙. œ œ ˙
& 4 œ œ œ
œ
œ œ œ
Verse
E 0 0 0
¯
B 1 3 1 3 1 3 1
G 0 2
D 2 2 2 2 3 3 3 3
A 3 3 3
E 3 1 1 1 1
C G
œœ ˙ œ œ ˙ ˙ ˙.
& ˙œ œ œ œ œ œ œ œœ
0
¯
1 1 3 1 3
0 0 2 0
2 2 2 2 2 2 0 0
3 3 3
3 3 3 3 3
C F
˙ œ œ ˙ ˙. œ œ œ
& œ œ ˙ œ œ œ œ œ œ ˙ œ
0 0
¯
3 1 3 1 3 1
0 2
2 2 2 2 3 3 3 3
3 3 3
3 1 1 1 1
C G C
œ œ œ ˙ ˙ ˙.
& ˙œ œ œ œœ œœ œ œ œœ
œ œ œ œ œ
œ œ œ œ
0
¯
1 1 3 3 1
0 0 2 0 0
2 2 2 2 2 0 2 2
3 3 3 3
3 3 3 3
72
C F
w w w
& œ œ œ œ œ œ w œ œ
Chorus
0
¯
1 1
2
2 2 2 2 3 3 3 3
3 3
3 3 1 1 1 1
C G
œ œ œ ˙ ˙ ˙.
& ˙œ œ œ œœ œœ œ œ œ œœ
0
¯
1 1 3 1 3
0 0 2 0 0
2 2 2 2 2 2 0 0
3 3 3 3
3 3 3 3
C F
w ˙. œœ w
& œ œ œ œ œ w œ œ
0
¯
1 0 1
2
2 2 2 2 3 3 3 3
3 3
3 3 1 1 1 1
C G C
œ œ œ œ ˙ ˙ ˙ ‰ œ œj œ
& ˙œ œ œ œœ
œ œ œ œ
œ
œ œ
¯
1 1 3 3 1 1
0 0 2 0 0
2 2 2 2 2 0 2 2
3 3 3 3 3
3 3 3 3
73
Melody, Ragtime
C
j j F
j œ . j œ j œj
4 j j œ . j j œ œ œ œ œj ˙ œ œ œj ˙ œ
& 4 œ œ œ.œ œ œ œ œ œ œœ
‰ œ œ œ œ œ œ œ œ œ
œ œ œ œ
Verse
0 0
¯
1 1 3 1 1 3 1 3 1 3 1
0 0 2
2 2 2 2 2 3 3 3 3
3 3 3 3 3
1 1 1 1
C G
j j j j j j œ. ˙
œ œ œ œ ˙ œ ˙. œ
& œœ . œ œ œ œ œ œ œ œ œ
œ œœ
œ œ
œ œ œ
œ œ œ œ
0
¯
1 1 3 1 3
0 0 2 0 0 0 0 0
2 2 2 2 2 0 0 0
3 3 3
3 3 3 3 3
j œj
C F
˙ œ œ œ j jœ j
& œ œ ‰ œ. œ œ œ. œ œ œ œ œ ˙
œ œ œ œ œ
0 0
¯
3 1 1 3 1 3 1 3 1
0 2
2 2 2 2 3 3 3 3
3 3 3
3 1 1 1 1
C G C
j j j j j j œ. ˙
œ œ œ œ ˙ ˙ œ ‰ œ.
œ
¯
1 1 3 3 1
0 0 2 0 0 0 0
2 2 2 2 2 0 2 2
3 3 3 3
3 3 3 3
74
C F
w ˙ ‰ œ. w
& œ œ œ œ œ w œ œ
œ œ œ
œ œ œ œ œ œ
Chorus
0
¯
1 0 1
2
2 2 2 3 3 3 3
3 3
3 0 0 1 1 1 1
C G
j j j j j j œ. ˙
œ œ œ œ ˙ œ ˙ œ ‰ œ.
œ
0
¯
1 1 3 1 3
0 0 2 0 0 0 0 0
2 2 2 2 2 0 0 0
3 3 3
3 3 3 3 3
C F
w ‰ œ. j j
& œ œ ˙ w œ œ. œ œ œ œ. œ
œ œ œ œ
0
¯
1 0 1 0
2 2
2 2 2 3 3 3 3
3 3
3 0 0 1 1 1 1
C G C
œ œ œ ˙ ˙ w ggg www
& ˙œ œ œ œœ œœ œ œ
œ œ œ œ œ œ œ œ œ gg w
œ
0
gg 10
ggg 2
¯
1 1 3 3 1
0 0 2 0
3
2
3
2
3
2
3
2
3
2
3
0
3 0
3 0
gg 3
75
JOHNNY DOYLE
Standard Tuning
Maybelle Carter’s Four Basic Licks
œœ œœ œœ }œœ œœ }œœ
& 44 œ œ œ œ
œ œ œ œ
œ1å œ2å
t t t t
p i p i i
E 0 0 0 }
0 0 }
0
¯
B 1 1 1 1 1 1
G 0 0 0 0
D
A 3 3
E 3 3
& }œœ œœœ }œœ œœœ }œœ œœœ }œœ }œœ œœœ }œœ
œ œ œ œ
œ3å œ4å
}01 10t }10 10t }01 01t }01 }01 01t }01
p i i p i i i
¯
0 0 0 0
3 3
3 3
Melody
(G‡) C F
œœ œœ œœ œœ œ œ
& 44 œ œ œ œ œœœ œ œ œ œ œ œ œ œ œœ œ œ
œ œ
t t t t t
0 0 0 0 1 1
¯
0 1 1 1 1 1 3
0 0 0 0 0 0 2 0 0 2
0 3 2 0 0 2
3 3
76
C
œ œ œ œœ œ œœ œ 6
& œ œœ œ œœ œ œ œœ œ œ œ œ œ œ œ œ œ œ 4
œ œ œ
t t t
t t
0 0 0 0 0 0
¯
1 1 1 1 1 1
0 0 0 2 2 2 0 0 0 0
2 2 2 0 0 2 2
3 3 3
G‡ C
œœ œœ œœ œ œœ œ 4 œ œœ
& 46 œ œ œ œ œ œ 4 œ œ œ
œ
t t t t t
1 1 1 1 1 1 0 0
¯
0 0 0 0 0 1
0 0 0 0 0
0 0 0 0 3 2 0 0 2
3 3
F C
œœ œœ œ œ œ œœ œœ œ œ œ œ
& œ œ œ œ œ œ œœ œ œ œ œ œ œ œ œœ œ
t t t t t t
0 0 1 1 0 0 0 0 0
¯
1 1 1 3 1 1 1 1 1 1
0 0 0 0 2 0 0 2 0 0 0 2 2 2
G‡
œœ œ œœ œ œœ .. œœ œœ œ
& œ œ œ œ œ œ œ œ œ œ 46 œ œ. J œ
˙
t t t t
0 0 0 0 1 1 1 1
¯
1 1 0 0 0
0 0 0 0 0 0
2 0 0 2 2 0
3
3
77
BLACK JACK DAVID
Standard Tuning, lowered (F sounds as E≤)
Solo
œ œ œ œ
b
& 44 .
. œ œ œ œ œ œ ˙ }
} œ
}œœ
œ œ œ ˙ ˙
Flatpick ≥ ≥ ≥ ≥ ≤ ≥ ≥ ≤ ≥
E
..
1 1 }
}
1 1
}32
¯
B 1 3 1 1 3 1 1 3
G 2 2 0 2
D 3
A
E
Note: Play parenthesised notes on repeat.
œ œ œ œ œ œœ }œ œœ
&b œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
}2
1 1
¯
1 3 1 1 1
2 2 0 0 2 0 0 2 0 2 2
3 3 0 3 3 3 3
œœœ œ
&b œ œ œ œ œ œ œ œ œ œ œœ
œ
œ
1
¯
1
0 0 2 0 2 2
3 0 3 3 0 3 3
3 3
1
78
Backup
F C‡
4 œœœ œœœ œœœ œœœ œœœ œœ œœ œœ
&b 4 œ œ
. œ . . œ . . œ nœ œ œ œ œ œ œ
œ œ œ
¯
1 1 1 1 1 1 1 1
2 2 2 2 2 3 3 3
3 3 3 3 3 2 2 2 0 2
3 3 0 2 3 3
1 1 1 3
œ œœœ œ œœœ
F C‡
& b œ œœœ œ œ œ œœ
œ . .
œœœ
. œ nœ œ
œœœ œœœ
œ œ œ œ
1 1
¯
1 1 1 1 1 1
2 2 2 2 2 3 3
3 3 0 3 3 3 3 3 2 2
3 3 0 2 3
1 1 1 3
œ
F
&b œ œœœ œ
œœœ
œ œ
œ œ œ œ œ œ œ œ œ œ œœ
œ œ œ
≥ ≤ ≥ ≤ ≥ ≤ ≥ ≥ ≤
1
¯
1 1
3 2 2
2 0 2 3 3 0 3 0 3 3
3 3 3 0 0 3 3
1 1 0
&b œœœ œœœ œœœ œœœ œœœ œœœ ggg www

œ œ œ œœœ . œ . . œ . . œ . gg ww
œ œ œ œ œ ggg w
≥ ≤ ≥ ≤ ≥
gg 11
ggg 2
¯
1 1 1 1 1 1
2 2 2 2 2 2 2
ggg 33
gg 1
0 3 3 3 3 3 3 3 3
0 3 3 3 3 3
1 1 1 1
79

Early Southern Guitar Styles

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EARLY SOUTHERN

VIDEO INDEX ................................................................................................ 2

14. Fishing Blues — like Mississippi John Hurt (4)

TO LOCATE INSTRUCTION IN BASIC TECHNIQUES

SOME HELPFUL INFORMATION

LEARNING FROM AUDIO RECORDINGS: SOME TIPS

A BRIEF HISTORY OF THE GUITAR IN THE SOUTH

ABOUT TUNINGS AND CHORD SHAPES

TYPES OF GUITARS USED IN OLD-TIME MUSIC

CHOOSING A GUITAR FOR OLD-TIME MUSIC

CHECKING SET-UP OF ANY GUITAR

A few books that were helpful:

Other sources that can be helpful:

Waltz Tempo Jig Tempo

Patterns using r.h. fingers

Guitar Run Example (fingers)

Patterns using flatpick

Standard Tuning, down 5 frets

Basic Picking Pattern Examples

Basic Roll Lower Roll Exercise Roll

Fingerpicking Practice Patterns — C Chord

Melody, Straight Time

&b œœœ œœœ œœœ œœœ œœœ œœœ ggg www

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