Premiere

Issue No. 1

Contents
Features

Bill Cooley Kathy Matteas Road Warrior

19
18

Keith Medley Virtuoso, Luthier, Visionary

13
12

W.C. Handy Father of the Blues

Departments
Introduction

Artist Profiles

Sight & Sound

Guitar Gallery Petros Jumbo

98

35

58

Fingerstyle 360 Issue #1

Simon Fox

Master
Workshops

Its Raining, Its Pouring

Adam Rafferty

Little Fingers, Big Sound

Eric Frederickson

I Hear a Bird

Tim Farrell

Backpacking with a 6-string

Tom Pender

31
37
47
41

Sunrise Guitar

52

Metro Blues

55

Bill Piburn

Hear Ye, Hear Ye, Its a Brand New Day!

elcome to the maiden voyage of Fingerstyle
360! As most of you know, I was the editor of
Fingerstyle Guitar magazine for ten years.
When it ended, it left a void in the world of
fingerstyle guitar as well as my personal and creative life. Id
always believed in our mission, however today is a new day:
It is time to continue providing an outlet to share this art
form with guitarists the world over.
My approach has been, and will continue to be, one of creating a magazine that highlights talent that otherwise might be
overlooked by others. Personally, I only care about the music
and those who create and perform it. While we certainly will
feature reknown musicians, my vision is to provide a platform
for talent. We will never be designed by name recognition
alone.
It is my hope that we will eventually provide a printed version, however until resources justify it, we will continue to be
an online, downloadable magazine. The music in each issue
can be heard on our website for free. The music can also be

heard before the purchase of the

magazine. As we evolve into protected audio files, they will become
downloadable.
I have come to the conclusion that we, meaning fingerstyle
guitarists, are a faithful and enthusiastic group; however, we
are fragmented. What we do is certainly not mainstream,
therefore, we need to pull together and build a community. I
hope that Fingerstyle 360 can be part of that effort. I am asking for your support as well as input. Please feel free to write
me at editor@fingerstyle360.com and snail mail submissions
to me at PO Box 8120 Gallatin, TN 37066.
Disclaimer: Since we are a new and independent entity, and
have no connection with the former Fingerstyle Guitar
Magazine, we regret that we cannot honor subscriptions or
back issue orders anyone may have made with Fingerstyle
Guitar magazine. We have made arrangements to continue
providing available back issues of Fingerstyle Guitar magazine, but only for new orders placed with Fingerstyle 360. We
thank you for your understanding.

Artist Profiles
Adam Rafferty was born and
raised in Harlem. He began playing blues guitar at age six, got
mugged in front of his building at
ten, played in a rock band at
twelve, was ripped off by a club
owner on his first gig at fifteen
and by eighteen he was a rapper
on a gold record overseas. Yes,
Adam has led a life of a musician
since his earliest days on planet earth. By twenty he was playing in an after-hours joint in Harlem on 137th and Adam
Clayton Boulevard where the bandleader regularly drank himself into oblivion and threatened customers with a knife. Adam
has certainly paid his dues. From playing in the New York City
subway to concert halls throughout Europe, Adam has traveled a long and interesting journey.
Today Adam is playing solo acoustic guitar and making his
name known and respected around the world. His plays on
YouTube number in the millions and in recent times, he has
toured with Tommy Emmanuel. He is also a regular performer
at festivals in Bangkok, Helsinki, Germany, and the United
States.
I am so grateful for all the opportunities I have had and
continue to have. I am also thankful for the hardships.
Adam Rafferty
www.adamrafferty.com

Eric Frederickson began studying

the guitar at age six in order to
accompany his voice. Growing up
in Saint Louis he was exposed to a
large a variety of music and
played in several groups beginning at age fifteen. In the last ten
years, Eric has worked as a
soloist. He has a strong foundation in classical, jazz, blues, and
rock genres. Eric currently teaches guitar in the Saint Louis
area as well as performing and composing music. He also plays
piano, bass, drums, and tenor banjo.
Eric is a musician who has a gift for melody. His compositions are little gems.
Bill Piburn

Bill Piburn grew up in a musical

family in Kansas City, Mo. His
grandfather, Grant Leonard
Piburn, was a violinist who played
on live radio shows in the 1930s
and 40s. His father was a professional guitarist and singer. Bill got
his first guitar at age ten and
began learning to play the guitar
from his father. By age fourteen,

he was playing three nights a week in his fathers band and

keeping hours that did not meet with his mothers approval.
He began private study with Douglas Niedt at age sixteen and,
at nineteen, was selected to be a performer in Christopher
Parkenings first master class at Montana State University. Bill
attended Parkenings summer classes for the next two years
and, in 1979, moved to Montana to participate in Parkenings
master class. He returned to Kansas City and began studying
jazz harmony with, K.C. legend, John Elliott. Bill is the former
the editor of Fingerstyle Guitar magazine. He was first published in 1995 with an anthology of fiddle tunes. Over the
years, Bill has written seven books that have been published
by Hal Leonard and Mel Bay. He has also been featured in Just
Jazz Guitar and Premier Guitar magazines. Chet Atkins, Martin
Taylor, Earl Klugh, and Johnny Smith have all given Bill high
praise for his playing, arranging, and teaching.
Bill Piburn is one of the best players, arrangers, and
teachers I have known
Chet Atkins

Simon Fox is a unique voice in the

acoustic guitar world. With a fluid
and dynamic style, Simon brings
elements of Celtic and Bluegrass
music to his own melodic
approach to the steel-string guitar.
Australian born, Simon is currently
based in Vancouver Canada.
In 2006, 2008 and 2009
Simon toured with the Guitar
Heaven Quartet, holding down the fingerstyle corner in front
of theatre audiences across Australia. A regular performer at
folk festivals in Australia and recently in Canada, Simons performance is a rare blend of uplifting melodies, dark aires, and
a tinge of blues delivered always with a wry sense of humor.
In 2008, Simons tune Night Fishing featured alongside
guitar greats Tommy Emannuel, Pierre Bensusan and Martin
Taylor to name a few, in the South Korean My Love My Guitar
- The Best of Acoustic Guitar compilation. The Night Fishing
album received acclaim among the guitar community, notably
in review by Fingerstyle Guitar Magazine USA. The albums
stand-out track, The Fisherman was featured in the Mel Bay
Publications Master Anthology of Fingerstyle Guitar Solos Volume 3.
Simons accessible guitar technique has drawn great interest from the instructional guitar sector. In 2004 Simon recorded a DVD with Canadas Cox-Windswept Productions, and has
compiled one of the most extensive fingerstyle guitar
resources on the internet. At festivals, Simons workshops are
sought after for their focus and attention to detail on fingerstyle techniques.
In 2009, Simon teamed up with New Zealands premiere
luthier Laurie Williams. The beautiful tone of Lauries guitar is
featured on Simons upcoming CD.
www.simonfoxguitar.com

Kansas City-based Tom

Pender was the guitarist /
arranger for the NFL Kansas City
Chiefs TD Pack Band for eleven
seasons. He performs regularly as
a soloist, with The Boulevard
Band and also is the leader of the
Tom Penderblast Trio. Tom has
performed in various shows
including Rent, Man of
LaMancha; It Aint Nothin But The Blues and Eubie. Tom has
performed in many jazz and rhythm and blues groups including Martha Reeves and the Vandellas, Mark Pender of the
Conan OBrien Show, O.C. Smith and Claude Fiddler
Williams. His recordings include solo guitar as well as innumerable recording sessions as well as numerous TV commercials
and radio spots. Tom served as faculty at Longview
Community College for 22 years and holds a degree in Music
Performance from the Musicians Institute of Technology and
a degree in Music Composition from University of Missouri
Kansas City Conservatory of Music. Tom studied classical guitar
with Douglas Niedt and jazz harmony with John Elliott.
www.tompender.com

As a performer Tim Farrell has

entertains audiences internationally. He maintains an active performing schedule, appearing in a
variety of concert venues such as
the Kimmel Center, Montreal
Guitar Show, Carnegie Center,
Hard Rock Live and many more.
Tim also performs on benefit concerts, festivals, workshops, corporate events, and television programs. Tim has performed live on many radio programs as a
featured artist including Echoes and Kids Corner, both popular
syndicated shows heard on hundreds of Public Radio stations
nationwide. Tim performs as a solo artist and also has shared
the stage with such notable artists as Les Paul, George Benson,
Jean Luc Ponty, Rick Wakeman, Alex DeGrassi, Jake
Shimabukuru and many more. In addition to his solo performances, Tim offers several different concert programs that
include guest artists and multimedia programs such as
America The Beautiful and Hearts Content.
www.timfarrell.com

The Life and Times

of W.C. Handy
W

illiam Christopher Handy was

born in Florence, Alabama, to
Charles Bernard Handy and
Elizabeth Brewer on November
16th, 1873, and passed away on March
28th, 1958. His father Charles was the
pastor of a small church in Guntersville,
Alabama, while William Wise Handy,
W.C.s grandfather, was also a Methodist
minister and former slave who built the
cabin where W.C. was born. The cabin is
a historical site that has been preserved
and can be seen in downtown Florence.
The cabin houses the piano that W.C.
wrote many of his compositions on,
including Saint Louis Blues. At the time
of his death, he had become a legend and one of the most respected
musicians of American history, often being referred to as the Father
of the Blues. It is said that when he died in Harlem, New York, over
twelve thousand people attended his funeral and over one hundred
and fifty thousand spilled into the streets to pay respect as the procession passed.

Musically, W.C. was first drawn to the guitar and saved for his first
instrument by picking berries and making lye soap. W.C. brought home
the guitar much to the dismay of his father who ordered the instrument out of the house asking, What possessed you to bring a sinful
thing like this into our Christian home? His father soon enrolled him
into organ lessons that were short-lived, and he moved onto learning
the cornet at a local barbershop.

The guitar without doubt had influence on Handy. In his biography, he

wrote of his travels around Mississippi in 1902, to hear Negro musicians and, in particular, a blues guitarist he was impressed with in
Tutwiler, Mississippi. It is important to note that the guitar and the
banjo were the instruments most Negro musicians played and was the
music W.C. often heard. He would note, Southern Negroes sang about
everything and would accompany themselves on anything from which
they can extract a musical sound or rhythmical effect. Handy also stated, The transitional flat thirds and sevenths in my melodies were my
attempt to suggest the slurs of the Negro voice.
In his early teens, W.C. joined a local band; however, he kept it a
secret from his parents. At the time, he worked at McNabb Furnace in
a shovel brigade. The men would sing and beat out rhythms with their
shovels while waiting for the furnace to digest its ore. While working at
McNabb Furnace, he practiced his cornet and learned to read music. In
1892, he traveled to Birmingham, Alabama to take a teaching exam
and subsequently took a teaching position. Unhappy with the job, he
quit for a position at a pipe works plant in nearby Bessemer. While

working at Bessemer, he formed the

Lauzetta Quartet and offered music lessons. The group eventually traveled to
Chicago and Saint Louis where they fell
on hard times and disbanded. W.C.
moved on and found better luck in
Evansville, Indiana where he joined a
successful band and met his wife
Elizabeth Price. They married on July
19th, 1896 and shortly thereafter, W.C.
joined the Maharas Minstrels show. The
new couple traveled with the group for
the next three years until moving back to
Florence, Alabama to raise a family. On
June 29th, 1900, Elizabeth gave birth to
the first of six children.

W.C. toiled in a variety of manual labor jobs and eventually was hired
to teach at AAMC in Normal, Alabama. Today the school is named
Alabama Agricultural and Mechanical University. Along with Tuskegee
Institute, AAMC was one of only two black colleges in Alabama at the
time. Handy taught music there from 1900 to 1902. Disheartened that
the school downplayed the importance of American music and emphasized European classical music, he left the school to rejoin with the
Mahara Minstrels and toured the Midwest. In 1903, W.C. was offered a
position to direct a black band named the Knights of Pythias, located in
Clarksdale, Mississippi. He remained there until 1909, when he moved
his band to Memphis, Tennessee. The band was soon making a name
on Beale Avenue. Its interesting to note that city leaders were forced
to change the name of Beale Avenue to Beale Street when Handys
Beale Street Blues became so popular.
W.C. Handy went on to become a successful music publisher and composer while in Memphis. His most famous composition, Saint Louis
Blues, was written in 1914. Bessie Smiths 1925 Columbia version with
Louis Armstrong is considered to be one of the most famous recordings in American history.
W.C. Handy truly lived an American dream while overcoming the hardships of his personal life and the extreme racism of his day. From the
seed of slavery, he honored his bloodline and rose to become an
American icon. We need not ever forget William Christopher Handy.
In closing, I hope you enjoy playing my arrangement of Saint Louis
Blues. Its a classic that will serve you well on your next gig.

Bill Piburn

[Ed. note: Father Of The Blues, an autobiography, can be found on

Amazon.com.]

Saint
LouisBlues
Blues
St.
Louis

q q=q e
3

D7/F #
C #7/E #
A13
#
j
# # # # 4 n # n . n .
n
V
4
.
#
J

F 7/E

T
A
B

8
7
6

7
0

B7/F

E7
3

12

F7/C
3

E 7/B

B 7

# #
V # # n b n
D 7/C

D 7/C

13

7
6

b
j

4
3

3
2

3
4

# # # #
V

17

C7

b ..
n
J

34

34

2
1

1
0

1
0

3
3
3
3

11

12 12

2
2
2

2
2

B7/A
j
n
j
.n # .. n
.

G7/B

4
3

12 10
0
9
12
0

10

10

10

10

7
7
8
7

87

0
0

b b

E /D

0
5
4

6
5

6
5

5
4

5
4

b
n bn n

b J

C 7/B

E7

0
0
1

4
3
0

2
1

3
2

w
n b n
J

E /B

E 7/D

5
4

j n

J
7

8
7

4 0
3

A13
b
G
B7/A
B b13/A b
j
j
j
n n
n # n #
b n n # n

b

n b
n
J
2
1

0
9
8

56

A7

2
0

C7/B

3
2

B7

0
1

2 0 3

1
0

E7

E7

2
0

2
0

n

n

n
n #

#
J
J

0
0

E /B

1
0

#o 7

0
4
3

2
2
1

n n
n
#

J
2
4

87

56

7
6

A7

A7

8
7

2
3
2

A7 E /B

A7/C #
#o 7
3
# j n
j

# n
n

b
j
#### b n

b
V
n J b
E/B

89

2
1

n j

j
n #

4
3

3
2

5
4

# # # # j b

V
n #
J
J
C7/G

6
5

E 7/G

E7

B7/D

j
n
# n .
n n n #

.
n
#
J

E 7( 9)

W. C. Handy

5
2

7
4

b n
n !
n
#

E7

2
1

7
6
0

6 0 5
5

8 5 8
5

Public Domain. Arrangement 2009 Bill Piburn

10

##

B7( 5)
D

b b
n .
#### b n n j n
j
#

n
n bb
# n n
n b n

J
J
A 7
3
E 7/B

F7/C
4

A7

E7/D

E 7/D

21

0
0

8
7

23

5
4

5
4

8
9
9
8

6
5

7
6

A13
G G13 E13
F
D

11 10
11
11
10

78

3 0 5 3 0

n b j
n j
n n n #
J
J
3

11 12 10

2
2
3
2

7
11

F 7

25

5 0

# j
B7

n n j #
n
#
n J #

# # # # n . .
b . n
V
n .

J
5

56

C9 ( 11) B9 ( 11)

3
3
4
3

4
7

7
6

6
5

5
4

#o 7
b n
A7

5
6
6
5

5
4

6 5

#
2

8 5 8

o
bo 7
C 7
IV
j

#
n

.
n
#

.

b
n n #

V # # n b

n b
b
b J n

J
.

J
J
2

B7
VII

C7
E
B VIII

E-

VII 3/6

IV 4/6
A-

29

9
8
7

8
7

#
V b

33

5
6

C7/B

7
5

7
6

A 7

575

6
5

7
6

6
5

4
2

ww

3
let ring

0
2

VIII 3/6
o
o7
b
Gb 7 3
j
b
#
# b
#
b
V # n

b n J b

J 3
5

VII
B7

E-

VII 3/6

IV 4/6
A-

11

8
7
7

7
5
0

5
5

7
8

7
5
8

4 5
6

7 10
8
9

8 10 11

37

B7
D

4
4

E-

0
0

5
7

j
b n

7
5

B7/A

5
7
6

5
5

7
7
6

V
j
C7
j j

b
.

V b
b b
b b

j
b n
b

B7

41

6
5

65

6
5

6
5

6
5

7
6

# # # # # # j n n # #
#

V #

b
J
J
C 7/B

B7/A

4
2

45

3
2
7

####

4
3

0
0

6
5

575

6
5

7
7

1 2

3
2

j
j
n n # # n n # #

J
J

j
n n n

0
0

0
0

3
3

4
4

0
0

o
A# 7

3
3

4
4

2
2

V 4/6

E m9(b5)

b b

3
2

2
1

b b

E 7( 5)

b b

A 7( 5)

3
4

b b B7(b 5)
#### .
n
V
b b n
b
n
3
.
3
G 7( 5)

3
2

3 2

E7

2 3

2
1

3
2
0

5
2
2

B 7 II 3/6
A

7
6

0
0

7
6

5
7

34

44

2
1

2
3 3 0 2 2
0

#
1

3 2

b
n

4 0 4 5
3
6

5
4

4
3

D. S. al Coda
b B
j VIII VII
j

b ..
b n n
J
5

C7
B

8
1

9 8
8 7
8

Harm.12

ww
w

12
11
11
<12>

1
2

XI 3/6 E 9 ( 11)

E
B

0
1

6
5

4
3

3 3 0 2

0 0

2 0

A7
G
F II

4
3

#
bb
3 A
E7
j
j j
b n n bn
#
n #

n # n

Em9(b5)

58

II

# # n n
V # # n

#

4

A7

B7

1 0

5
2
2

D 7( 5)

E7

fi

B7( 5)

n n w n
b
n w
n

b n n b n b
n

# J
b

01

Coda

4
4

7
6

II 4/6
A7

j
n #

49

53

3
3

w
n

#

#
p

E-

12

Keith Medle

Twenty-seven and Counti

ey

ing

eith Medley is one of those rare

people who can design and build a

house or a guitar. He is a history

buff, a bit of a theologian, a family man, com-

poser, and overall creative thinker. Jokingly I

often refer to him as a renaissance man. The

design and construction of his twenty-sevenstring guitar has opened a world of musical

possibilities and inspired Keiths imagination

to the listeners benefit.

By Bill Piburn
14

A lot of people could draw an idea but not

many could actually build that idea. How did
you learn your craft?
I grew up in a work environment farming,
pouring concrete, and hammering nails. Dad
and I started building a house from the
ground up when I was about eight years old. I
grew up around tools yet at the same time I
played guitar. Both skills really developed
together which gave me the audacity to think
I could build my own guitar. It wasnt a far
stretch for me to consider the idea.
I understand that your dad was a very skilled
woodworker.

Yes, I learned a lot from him. Most importantly, I learned to keep my hands away from
sharp moving objects! (Laughter)
Did you learn to measure twice, cut once?

Absolutely! (Laughter) My dad gave me permission and he included me. He never said,
Hey boy, let me do that.
He made it a lesson.

It became that but I dont think he intended it

as a lesson. I think he just thought of it as
something normal you do with your son. Dad
would explain things as we worked.

I have known many talented musicians, however you are the

only one that has designed and built their own instrument. Tell
me about your 27-string guitar and how it came to be.
Back in the 70s while I dreamed about my ultimate car, I
would also dream about my ultimate guitar. Actually, I was
more passionate about the guitar so I started drawing my
dream guitar. I imagined what I could do with multiple
strings. The first one I drew had four necks! It was wacky! I
still have that drawing. Then about 1980 I saw a picture of
Michael Hedges playing a harp guitar...it was the first time I
had seen one. That gave me a snapshot of what I was looking
for. It was more practical than the four-neck thing I drew. You
have the freedom to exaggerate when youre a kid. Michael
played a Dyer harp guitar built in the 20s. I didnt know of or
see a Gibson harp guitar until three or four years later.
Between the Dyer, the Gibson and seeing a double neck guitar
gave me the foundation.
15

I remember one time when I was about

twelve, he had gone into the house for something. I was too young to be using the table
saw but I looked at it and thought, Im going
to cut something! As if he couldnt hear the
saw from inside the house! He came back out
said, Damn it boy, Im going to tell you one
time: theres no huge demand for one-handed
guitar pickers. (Laughter) Then he bent
over, turned the saw back on, and walked off. I didnt cut
another piece of woodI shook for thirty minutes. Looking
back I understand that moment was a turning point. It was his
way of giving permission. If he had gotten all over me, I may
not be doing what Im doing today. It gave me a new sense of
courage.
What was your first venture into building an instrument?

At first, I didnt make a whole guitar. I had an old Harmony

that needed a neck so I made one. I still have that guitar. I even
inlayed my name on the headpiece in pearl, K. Medley. It was
a single-cutaway thin body with F holes. I couldnt decide on
what pick-up so I put in a Tele, Strat, and a humbucker. That
way I had everything!

Sounds like the guitar you made me twenty years

ago.
Thats right! Thats what we did on your guitar.
To be honest I was repairing guitars before I built
them. I remember when I was a teenager I took my
guitar to a shop to fix a buzz and they trashed it. I
swore I would never let anyone touch my guitars
again and I havent. Thats when I began repairing
my own guitars.
The first guitar I built I freehanded it out with a
coping saw. I cut the neck out with my buck knife.
I still rough out necks with it.
I guess you do that between killing wild game with
it. (Laughter)

Well, you can field dress a deer, come back in, and
rough out a neck! (Laughter)
Since you came to building through repair, I would
think it may have been an advantage seeing many
different problems.
Yeah, that may be true. You can formulate a pattern when building and repeat it every time. When
you are dealing with repairs, often you are improvising. If you have three acoustic guitars that all
are in need of a neck set, you are really dealing
with three different dynamics.
Since you have the ability to build, are you often
tempted to start a new project?
Yes, all the time. I have two or three going right
now.
Its what I hear that drives the build. Its not
because I just want to add more strings. Im looking for options that will allow me to play what I
hear.
The 27-string has gaps between low G and D, the two lowest
strings. Im going to fill that in with E F#. I also want to add
Bb between the A and B on the bass side. Im going to end up
with 33 strings. It will have a wider range on the high end as
well. Right now the highest string is B. Im going to add three
more strings on the top side and take it up to an E two octaves
above an open E on a standard guitar. In others words E at the
24th fret. The added strings on the top will be C#, D and E. The
C# could also be tuned to C of course.
What is the lowest note?

Its D, an octave below a detuned D on a guitar. I will not take

it any lower but Ill fill in that gap.

If I were your booking agent, I would charge per string!

(Laughter) Please run down the tuning as it is now.
Bass Strings: D G A B C D E F# G
Guitar neck: Standard unless in DADGAD
Harp side: E F# - G A B C# - D E F# - G A B

How would you describe your music?

Its very personal. Most of it arrives as a backdrop of life experience. I compose as those moments show up. I have discovered that my emotions in those moments are common to most
folks love, loss, fear, joy, nature and relationships.
I draw inspiration from moments of surprise, a moment of
clarity or being moved when I observe struggle and triumph.
As far as genre, I will leave that to the critics.
continued...
16

Detailing Ebony Tailpiece 2

Im currently
working on a
composition
that has me
enthralled by a
coastal town in
the Ukraine. A
fan sent pictures
of his hometown
with a description
of the people who
live there. I could
hear the music as
the imagery began
to surface.

Who inspires you musically and in general?

People who embrace what they love and do what they love with passion
inspire me. They see what they do as a gift rather than a spotlight on themselves. Musically I am inspired by anyone who has a knack for combining
musical expression with imagery and theme.

Do you consider the creative process of building and design to have a relationship to the creative process of music?
Indeed! However, the music comes first. The instrument follows. Music establishes a range; the instrument simply makes that range available and manageable.
Recently you received national and international attention that unfolded in a
matter of days. How did this happen?

17

Neck locked in vice while hand-shaping.

Note body in the background

My
nephew
contacted
the local
Fox station in
Owensboro,
Kentucky
and told
them
about the
Dry fitting the neck b
twentyseven string
guitar I built. They sent a reporter down on a Sunday
afternoon who interviewed me and had me play a little. I
really didnt think a lot about it. It aired that night, and

before final shaping

the following day

CNN and CBS
picked it up
nationally.
The next thing
I knew every
network in
every major city
ran the story. It
was seen in Los
Angeles, Atlanta,
New York, Saint
Louis, Kansas City,
Denver, Seattle,
Chicago and more. I
Sides prepared right before attaching the back
even heard that it was
seen in London and
Saigon! Overnight I got close to a half million YouTube plays! All of a sudden,
I could not keep up with the CD sales.
Basically, millions around the world saw you.

Yes, and if I would have known that, I would have worn a different shirt!
(Laughter)
Ricky Skaggs saw the video and sent a nice message. I think we are going to
meet for lunch sometime. I was also surprised that the actress Alyssa Milano
sent my video out to her followers on Twitter.
I am now trying to find a way to tour. I hope to take advantage of the recent
attention.
I wish you the best with your music.
Thanks,
its an
adventure.

For more
information
about
Keith
and/or the
Harp Guitar,
go to:
www.keithmedleymusic.com

Shaping the black spruce back braces

18

California
Dreamin
B

ill Cooley grew up surrounded by the

beauty of Santa Barbara, Calif., and the
t wanging guitars of the 1960s. Music
found its way into his soul and he soon knew
it would be his life s work. Since 1984, Bill
has toured with artists such as Merle
Haggard, Reba McEntire, Alan Jackson, Hal
Ketchum and Kathy Mattea. Bill lived his
California dreams and followed his heart.
By Bill Piburn

Go confidently in the direction of your

dreams. Live the life youve imagined.
Henry David Thoreau

20

Bill Cooley

Tell me about your early years in California, growing up, learning to

play the guitar.

Musically, I came of age in the early sixties. In Southern California,

surf music was the big thing. It was guitar-based music. Surf bands
had at least two guitar players, sometimes three. I began learning
the music of The Ventures and Dwayne Eddy. I was also a big fan of
The Beach Boys. I was in the sixth grade when I got my first guitar.
Then the Beatles hit just as I was entering junior high. A couple of
friends and I would take our guitars to school. When we played
Beatles tunes, we had the attention of all the girls. That was a big
motivation! Every one of us worked to be the first one to know the
next Beatles tune.
Who was your first teacher?

My first teacher was a guy named Russ Johnson. He was wonderful.

He taught at a music store in Santa Barbara. He was a very popular
teacher, always totally booked. My dad talked him into opening the
store early on Saturday mornings because that was the only time he
had. My poor dad never had the opportunity to sleep in on
Saturday. Russ was a great teacher. After a while, he said that he
had taught me all that he could and that it was time to move on to
another teacher. His name was George Mamlakis and he was a great
teacher as well. He was in one of the more popular surf bands in
Santa Barbara.

George finally said that he had taught me all he could and suggested
a guy named Bill Thrasher. Bill Thrasher was a jazz guitar player
and a good friend of Joe Pass. He wrote the Joe Pass Guitar Style
bookyou know, the orange book with the line drawing of Joes
face on it. Back in the day it was considered the guitar bible. They
put Joes name on it; but Bill wrote the book. I was about college age

21

when I started taking lessons from Bill. Its safe to say that I would
not be making a living as a guitar player if I had not met Bill
Thrasher.
Did he open a lot of doors for you?

He inspired me. He became my mentor, my guru. I fell under the

spell of this man. He was a brilliant player and a brilliant teacher.
He could show you more in half an hour than you could learn in a
year. I still look at his lesson material. I was his last lesson for the
day. My lesson ended about eight or nine oclock in the evening and
we would go to the cafe around the corner and talk until the wee
hours. Bill was a bit of a philosopher, as old jazz musicians can be. If
Bill had an opinion, it soon became mine. I absolutely followed this
guy. He would give you his opinions of music and his opinions of
life. He was always encouraging me. One day, after one of the gab
fests at the cafe, we were walking back to his apartment and he
said, What are you doing? I asked him what he meant and he said,
What are you doing with your life? I was really dedicated to playing the guitar; but there was no rhyme or reason to it. I didnt have
a plan. He told me that if I had plans of making a living playing the
guitar, I was not going to get there the way I was going. His voice
had a hard edge to it. It shocked me. He said that I could do anything I wanted to do with the guitar and the sky was the limit but I
was not taking it seriously enough. He said that every professional
musician he had ever met took at least a year out of their life and
did nothing but
practice and
studyno full time
job, no girlfriends,
no social life. They
simply put themselves away like a
hermit. They dug
in and practiced
religiously every
day. Its like a
gauntlet; its like a
crucible. When you
come out on the
other side you own
your music in a
way you cant otherwise. Once I got
over the shock of
the way he talked
to me, I was
relieved and grateful. Number one,
he told me that I
could do whatever
I wanted. Basically,
he told me that I
had it but, that I
had to work harder. I knew how to
do that.
I spent a year of my life doing nothing but playing the guitar. To
support myself, I taught at a music store on Saturdays all day. The
other six days of the week I sat in my room and played guitar. I
studied Bills writings, chord work, arpeggios and immersed myself
in it for a year. Other than the one day of teaching to support

myself, I had no social life; I had no girlfriend, and played no gigs.

At the end of that year, I got a job playing five nights a week at a
bar. I took what I had learned and applied it on the bandstand. I
learned a lot on that gig. You can play something in your room that
sounds great and then when you get on the bandstand it doesnt
work. I had five nights a week to hone it into something. After that, I
was on my way.
There was a band coming through town that came in for a beer one
evening and heard me play. I got hired. They were based out of
Redding, California. They were the house band at a resort on Lake
Shasta owned by Merle Haggard. Merle would come in often and sit
in with the band. Eventually he
started inviting me to jam sessions
he had on his houseboat. It was
docked at a marina just down from
the club. I would finish my gig at
the resort at 2:00AM and go to the
boat. The jammin would still be
going on. You never knew who
would be there. Tiny Moore might
be there, Jimmy Belkin, Norm
Hamlet, and Freddie Powers. There
I would be, jammin with those
guys. That led to the formation of a
band. Merle was trying to promote
Freddie Powers as a singer. He put
a band together called The Butter
and Egg Band. It was all old swing
stuff. I was in that band with Merle
along with Biff, his drummer, Tiny
Moore, and Jimmy Belkin. Later, I
put a band together for Merles
daughter, who was a singer. In 84,
I went out on the road with Merle.
His daughter would open the show
and I played in that band, and then
I would back Merle in his show.

about that and I listenedan important thing to know that Ive

since passed on to my son. No matter what band Ive worked with,
if we talk about music its about the groove, where the track is sitting. Is this song laid back or do we want to push it forward a little
bit? At sessions or in concerts, that is the topic. Tempo is one thing,
but everybodys time is slightly different. If you play with enough
musicians, you begin to recognize their individual tendencies.
Where are we going to meet and make music out of it? Its all
encompassing and all musicians talk about it. That point was driven
home to me in the early eighties by Merle. He would very patiently
play a record and show me what he was talking about.

Time is an elastic
thing and has a

great effect on music.

There is the beat

you can play right in

the center of it or

you can play slightly

Was this The Butter and Egg Band?

ahead or slightly

That is very impressive.

It is. He is just as alive about

music as he was when he was
twenty. To this day, he is eaten
up with music and he loves guitar
players. In the early eighties,
George Benson was it. He talked
about him all of the time.
I wonder if George Benson ever
knew that.

I dont know. Of the Nashville

players, he idolizes Grady Martin
and Reggie Young. He just loves
musicians. Back then, he was a
little tired of being Merle
Haggard. But play an old Floyd
Tillman song; he is right there.

Tell me how you ended up coming

to Nashville.

Living in Redding was isolating. I

wanted to go to a music center.
By that time I was married and I
had lived in L.A. long enough to
know I did not want to raise my
family there. I picked Nashville. I
knew one person, a guitar player
named Jimmy Olander. I called
him and told him I was moving to Nashville and I was coming out
there first to get a feel for things before I moved my family. He let
me sleep on his living room floor for a couple months. He had just
joined a band called The Tennessee River Boys and wound up playing at Opryland. A couple of years later they changed their name to
Diamond Rio. I owe Jimmy big time.

behind.

No, that was The Strangers. The

Butter and Egg Band was just a little California tour. It was short
lived because Merle wanted to put
Freddie up front and we were just back there playing. They tried to
explain to the promoters, this is not the Merle Haggard Show. This
is Freddie and Friends. Of course we would get to the gig and the
marquee would read, Tonight, Merle Haggard. Everybody would
come in wanting to hear Okie from Muskogee, Fightin Side of
Me. It wasnt that. We did that tour and then went back to The
Strangers. Freddie came out with The Strangers too. That was in
1984. In 1985 I moved to Nashville.

Before we talk about living in Nashville, let me ask you a little bit
about Merle Haggard. I remember you told me that he would often
play records for you and make comments about the music. Please tell
me about that and what it was like hangin out with him.

It was like a graduate school in music. He knows so much about

music. He put on those Bob Wills records. As the record was playing, he would point out to me, Thats Junior Bernard on guitar. Hes
pushing the beat. Hed point out the fiddle player and tell me that
he was kind of layin it back. Merle would point out to me the push
and pull in the groove. Time is an elastic thing and has a great effect
on music. There is the beat; you can play right in the center of it or
you can play slightly ahead or slightly behind. He would talk to me

Gary Lumpkin also opened his house to me. I slept in his guest room
for another month and a half. It was about three months before I
was able to scrape together enough money to move my family here.
After they arrived, it was still a struggle. Luckily, I got the Reba gig.
Financially, it was just in time.
Jimmy is a very unique player isnt he?
Oh, yeah. It takes courage to decide you are not going to play all
styles. I am going to play this certain style. I am going to put my
energies into this and perfect this. It worked beautifully for him. It
is not always the best way to get work. It could backfire.
It worked because the group was successful.

continued...

22

Bill Cooley
Yeah. However, as a working musician you need to know many
styles. You have to think that way because you dont know what the
next gig is going to be. Jimmy just took his own thing and ran with
it.
I make my living as a sideman. You have to be versatile if you are
going to be a side man. If one thing dries up, you have to do something else. I dig deep for what I really want to say on my own
records; however, as a sideman, I pride myself for covering a lot of
ground. That suits me. I tend to get a little antsy if I continually play
the same thing. That is what attracted me to Kathy Matteas music. I
had my ear tuned to Kathy long before I worked for her. I could
sense that she had a wide range of musical interests.

was there; I did it all. I needed to let people know about me and to
hear me play.
I did that for a couple of months and began to get a few gigs around
town even though they didnt pay much. I started doing a
Wednesday night jam session at a place called Tracks. There was a
revolving cast of musicians who were in the band. Ray Flack was
one of them. We played together on any number of nights. There
were two guitar players, maybe two steel players, Bruce Bouton
and Bucky Baxter. Whoever heard of two Tele players and two steel
players? We just did it. Everybody got up on stage at the same time.
Reba McEntire was looking for a guitar player and Bruce Bouton
recommended me. Reba and her band was in
town that Wednesday night so they came out to
hear me. They didnt hire me that night; they just
came in and left. I thought that was the end of it,
but they called two or three days later and hired
me. They were already back out on the road
driving from Oklahoma to Pennsylvania. They
flew me to Cincinnati and picked me up. The next
night in Pittsburgh, we played in front of twenty
thousand people.
That is a quick introduction to the gig.

It was incredible. By then, I had moved my family

to Tennessee and I was quickly running out of
money. I was considering selling some of my guitars to pay the rent. I was on a financial ledge.
The week before I got the gig, I was down at
Gruhns with guitars in hand. I didnt sell them
but I got them appraised. A week later, Reba
called. That was a life-changing moment.
I can imagine the elation of getting a gig with a
high profile artist.
It meant I could pay the rent. The kids were
starting school and you know all the bills that
entails. Not to belabor the point, but I didnt
know what I was going to do.

You know, that is really putting your heart and

your life on the line.
It was a close call. I will never forget that feeling.
I was with Reba for three and a half years. That
was 85 through 88 and she worked a lot. We
were gone for a month at a time or longer. In 86,
she did 190 shows. Factor in the travel days and
I was gone a lot. Thats hard on the family.
Oh yeah, what a sacrifice.

Before we get into the career with Kathy, lets go back to the sleep-onthe-floor days and hear how you got yourself started in Nashville.
I just got out every night and sat in anywhere they would have me. I
treated it like a job because my family was still in California. I was
motivated to get my name around quickly. There were clubs in
town where musicians would gather and jam until the wee hours. I

23

Yeah, there is that double-edged sword I was

so glad to have the gig, but I was gone from home all of the time.
Luckily, my wife is incredible and very capable. She was here with
four little kids all by herself.
You owe her big time.

I sure do, for the rest of my life. That was her gift to me.

You must have really missed the kids.

That was hard. It wasnt until I had finished that gig that I realized
how tough it was. I was gone; she was here. She made it all work
and put on a brave face so I would not worry. Later I realized I really owed this woman. That gig ended in 88. Reba wanted a complete
change and she let the band go. It happens. Thats the music business.
In 89, I went to work for a guy named Alan Jackson. He was just
playing clubs. He had signed a publishing deal but he didnt have a
record label. We would get in the van and drive to Little Rock and
play at a club called Bad Bobs. We were doing all of those songs
that later became monster hits for him. At the time, nobody knew
him. You know, you go play a country bar and they want to line
dance. When he would do something like Here in the Real World,
he would empty the dance floor. Then we would
have to do something with some tempo to get the
crowd back.

What is it like trying to keep together the repertoires of two different

artists?
The repertoire is easy. Its the scheduling that can be difficult. For
five years it worked amazingly well.
There was another guitarist that Hal would call from Texas that
worked with The Flatlanders. He would call the two of us and one
of us always seemed to be available. Hal is just crazy enough to do
something like that. Hes a go-for it kind of guy. I loved playing with
him. Nothing was ever planned. He would come in, show us a song
that he had written that afternoon, and wed go out and play it. He
reminded me of Merle in that sensefearless.
You also work in the studio with Kathy. Whats it like working on a
recording project with her?

Was this right before he broke?

Yeah. We were at Douglas Corner playing a showcase one night and the next day he signed with
Arista Records. Im in a video that he did, but it was
a song that didnt go anywhere. It was called Blueblooded Woman and a Redneck Man. The next song
was Here in the Real World. Right about the time
he released that song, Kathy called and asked if I
would be interested in auditioning for her band. As I
said before, I was aware of her. I really liked her
voice and her choice of songs. I could tell that she
was very inquisitive musically. She called me personally to ask if I would audition and I jumped at
the chance.
Had she heard you somewhere?

She had heard of me via Nancy, my wife. Nancy was

doing stagewear for artists. She was doing beaded
and hand-painted stage coats. She started doing it
for me and pretty soon she was doing it for everybody in town at that time. She has decorated coats
for everybody from Patty Loveless and Kathy to
Trisha Yearwood, Steve Wariner, Hank Jr., and
LeRoy Parnell. It was a wide range of people. Kathy
knew Nancy because Nancy had done some clothes
for her. Thats how she came to call me. That was
January of 1990, twenty years ago.
So its like family now.

Yeah, we are great friends. We know each others

musical tastes and leanings. I kind of know what she
is thinking, when it comes to music and she knows
what I am thinking. Sometimes we finish each
others musical sentence. It is a very close bond.

Sometime along the way, you played with Hal

Ketchum, too.

That was in 98. Kathy wasnt real busy and I subbed for his guitarist. That ended up being five years of working with Hal when
Kathy wasnt busy. Kathy was always the primary gig. Hal would
hire me to go out when I was available.

One of the great things about working with Kathy is that, at this
point, she trusts me. She did a record a couple of years ago, Coal.
That record was developed from going over to her house and
researching songs. She would find the tunes she liked and I would
help her to make them her own. I would do some arranging, but
Kathy and I go back and forth with our ideas as we develop the
approach we want.
continued...

24

Bill Cooley

Absolutely. There is very little

turnover in her band.

Are there any topics you would

like to throw in about life on the
road?
Be a nice guy and be somebody
you would want to sit next to on
a tour bus. Be considerate of
others. A sideman gig also
requires that you be musically
versatile, even if you are in the
same band for twenty years.
Kathy is versatile. One record is
folk, the next one could be more
pop, and the third one could
have a Celtic flair. Hal is all electric rock. When he is up there
and turns to you, you better
take the song up a notch.

Does Kathy ever surprise you and pull

out a song you were not expecting?

She doesnt write most of her material. Most of the songs she finds.
In that regard, I know what she is looking for. Together we find a
way to arrange the song so that its hers. Were getting ready to do
that same process for her next record. Weve had a few conversations and she is gathering material right now.
Is there a theme to that record?

I think it will be similar to the Coal record. I dont think it will be a

collection of coal mining songs; however, I do think it will be
Appalachian based. Marty Stuart produced the Coal record. We just
sat in a circle, Marty on mandolin, Byron House on acoustic bass,
Stuart Duncan on fiddle, and me. We did it pretty quickly. We did it
all in three days. Part of that was because Kathy and I had done our
homework. We didnt spend most of the session trying to arrange it.
If you have the is dotted and the ts crossed, you just turn these
guys loose. The magic happens pretty quickly.
I assume that Kathys next record is going to be acoustic as well.

Yeah, I think so. As she put it, the Coal record without the coal
theme.

You are probably getting up there with some of the longer gigs in
Nashville music history. I know there can be personality issues when
you are with a band for a long time.
It can happen. We were out on the road so much with Reba that we
saw more of each other than we saw our families. Luckily, we were
all very close. It was a family atmosphere. Those people are my
friends for life.
The average shelf life for a sideman is three years; Kathy and I have
been working together for twenty years. Its a special relationship.
Obviously, you have spent a lot of time with the people in Kathys band.

25

Oh, every night! There is a set

list but she changes it up all of
the time. The set list never survives the entire set. She will
also take requests. She has a lot of loyal, long-time fans who take
delight in requesting a song from twenty years ago. Sometimes it
has Kathy and me looking at each other trying to remember it. If
either one of us remembers half of it, we try it. [laughter]
You could always turn to the audience for the lyrics! Those are true
fans that can go back twenty years.

Right. Theyll want to hear some obscure album cut. When you stop
and think about the list of songs we both know and could actually
do a halfway decent job on, it is pretty considerable.
Since you are playing in this acoustic band, tell me how you handle
the amplification and how do you monitor the sound on stage? What
kind of gear do you carry?

It used to be, with an acoustic guitar, you would just plug into the
PA and it comes back through a wedge. I use L.R. Baggs pickup system. I first met Lloyd in 1991, the year after I joined Kathy. At the
time, he asked us to use a prototype called the Duet. It was a combination of an LB6, the bridge pickup and a mic inside the guitar
encased in foam. In 91, it was groundbreaking stuff to actually put
a mic inside a guitar. We loved them. Kathy and I put them in our
acoustic guitars and have been using them ever since. I had never
heard anything sound as good as those original Duets until this new
system, Anthem. It is a bridge pickup and a microphone that is
attached on a bridge plate inside the guitar. This system is the next
step forward. I have a prototype of it in my new Schenk guitar. You
can put an amazing amount of the mic into the blended signal without it feeding back.
Have you tested this out on the road?

Yes, I have. Not only that but, I am now playing it through his
acoustic amp, the L.R. Baggs Acoustic Reference Amplifier. There is

a regular wedge and the acoustic amp is tilted back and pointed at
me. This thing will give acoustic amps a good name. This one
sounds like a studio monitor. Im told the magic is in the speaker.

Lets talk about your new record The Return Journey. You have some
special tracks on there that you may want to talk about. I know that
Kathy appears on the record.
Yes, Kathy sings on the record. We did a cover of the old Elton John
song Madman Across the Water. This will tell you a lot about
Kathy. Madman Across the Water has always been my favorite
Elton John song and when I asked her about it she said she liked it
too. She said she used to have a boyfriend who was habitually late
and she used to play it on the piano while she waited on him. When
I asked her, she said she wouldnt do it until we talked about the
lyrics and what they mean. She has to find a way inside the lyrics.
We spent about an hour talking about the song. At the end of that
hour, she said okay. She didnt even hear the arrangement.
The string section on The Twilight Waltz is beautiful.

Carl Marsh, certified musical genius, arranged the strings. He does

arrangements and conducts for everybody. Carl did the string
arrangement on my second album as well. A lot of times, I am hearing a string arrangement and he will incorporate my ideas. On this
particular one, I just told him to go for it.

a year. I went back and practiced guitar instead of writing tunes.

When I do write its normally in the mornings. Its kind of like
emailsee what arrived overnight.
For a year I imposed a moratorium on writing and started working
on things I always meant to get around to doing. Some of it was
stuff I tried hard to learn when I was younger and didnt do a good
job of. I have always admired Chet Atkins. Back when I was younger
I couldnt figure him out. I thought how on earth is all of that going
on with one guitar? I had a really bad, bastardized version of that
kind of thing. I went back and tried to get a few Chet transcriptions
and really dug in to find out how he accomplished that stuff.
Besides gaining a whole new appreciation of Chet, I picked up little
technical things.
I had made it through a couple of Chets transcriptions and the next
thing I knew, I had written Hittin on All Six. It doesnt sound
specifically Chet-like but, I know that the song is the result of learning those Chet arrangements. It was filtered through me.
Id like to acknowledge Bryan Galloup who built the guitar that I
used on Hittin On All Six. I love his guitars. Weve worked together for years.

Tell me about Hittin on All Six.

Youve worked in the studio enough to know when its music and not
math; when its your own project and you are the focus, thats even
more pressure. How do you get to that point when its about music
and not the math?

It was one of the first tunes I wrote for the album. When I finished
my last album, I thought I would immediately start on my next. I
made the conscious decision not to do that. I didnt think I would
have anything to say if I immediately started. I didnt write at all for

I wait for that feeling where the room disappears. Where you play
the song and when you finish you realize that you kind of left the
room. You dont even remember playing it. Its not always like that,
but I look for that feeling.
www.billcooleymusic.com

Groovy Guitar
Arranged by Bill Piburn

The latest release from Hal Leonard - arranged by Fingerstyle

Guitar editor Bill Piburn - Groovy Guitar features 15 custom
arrangements of popular music classics. Songs are arranged
for solo guitar in notes and tab.

Groovy Guitar
15 Classic from the 1960s Arranged for Solo Fingerstyle Guitar
Daydream, Downtown, Happy Together, A Hard Days Night, Ill Never Fall In
Love Again, Last Train To Clarksville, Mellow Yellow, Scarborough Fair, (Sittin
On) The Dock Of The Bay, Spooky, Sunny, Up On The Roof, Walk On By, What
Becomes Of The Broken Hearted, What The World Needs Now Is Love.
00701215 Book/CD Pack ................................................................... $17.99
Also Available:

Fingerstyle Love Songs

00699912 Book/CD Pack .......$17.95

Fingerstyle Guitar Standards

00699612 Book/CD Pack .......$17.95

Order Today!

Mon.-Fri. 9am-9pm, Sat. & Sun. 9am-5pm CST

www.musicdispatch.com
1-800-637-2852
26

Hittin' On All Six

Hittin On All Six

G7

V 44
1

T
A
B

C7

G7

j b

3
2

78

0
7

78

C7

C7

6
65

6
7

45

53

6
65

13

9
8

8
8

97

6
7

45

53

78

6
0

78

67

65

6
6

78

5
7

j j

G7

0
7

75

j b

2009 Nancy Lee Music

27

6
0

b
j j b
j b j

# j b j n
b
#
b

87

C7

B 7

78
67

57

78

G7

C7

j b j

C7

G7

57

G7

C7

j b
j b

78

C7

j b

C7

C7
j b j b b n j b j
V
n
#

G7

j b

G7

G7

j b j b b n j b j
V
n
#

G7

G7

C7

G7

j b

C7

Bill Cooley

0
7

b
D7
b j
#
b .
J
J
E 7

56

6
5

5
4
5

G7

j b j b b n j b j
V
n
#

G7

C7

C7

6
65

Em7 ( b 5 )

j
b #
V

45

53

6
78

5
7

10

8 10

10

10

10

10

0
1

# j

b . J .
J
3

10

11

G7/B
2

j

n

11

j j

G7

j b

F/C
VIII

jj
#

10

12

12

21

C7

57

D-

11

C dim

A7

12

6
7

17

G7

A7
3

6
0

6
5

G7/B
#
F/C
B b7
A
D
D7/F # To Coda
j
fi

j

#
.

V
#
n

b J

J # .

J
C dim

25

2
4

~~~

D-

7
5

G7

VSolo

29

7
7

C7

2
3

G7

C7

j b
j b

6
0

78

0
7

7
7

6
0

78

2
0

0
2

~~~

~
j b j b n ~~~b~~ j n b
#
b n n

G7

C7

7
7

6
0

G7

5
7

0
65

0
0

6
7

~~~ 3
~3

5
5

34

4
5

3
4

2
3

0
0

28

G7

V
33

C7

G7

4
2

4
3

3
2

G7

C7

G7

3
2

C7
4
2

4
3

3
2

C7

3
2

j
b j

V j
j
b j

G7

C7

G7

C7

37

35

57

43

4
3

3
2

Em7 ( b 5 )

3
2

G7/B
E b7 j Db

V
b

~ ~ j
b

b
.
j.

J
J
0
1
3

1
3

1
3

2
1

2
3

2
3

3
3

1
1

1
1

41

0
3
5

34

58

9 8
11 10

7
8

7
6

6
7

~~3
~~ 3

5
5

3
3

3
3

0
7

8
7
8

8
6
8

6
5

6
7

B b7
E b9(# 5)
D13
~
~
b

b # n # b n

b
b b
V b
# j

bw
J
2
3

C7
1

1
1

3
3

2
3

2
3

2
3

1
1

1
1

1
0

9
8

29

45

8
8

11
12

~~~88 10
~ 10 10

8
89

9
10

8
9

7
8

5
5

5
5

67

5
6

11
11

0
10

0
0
9
10

0
10

j
j
b n b # j

J
G7

V
49

2
1

C7

3
3

1
1

G7

4
2

34
23

0
0

3
3

5
5

3 4 3

34

53

13

j
b

V 4/6
Em7 ( b 5 ) 2

Gdim/D
j
b # b

D-7

53

6
5
7

5
5
6

7
5

F/D

5
3
5

3
2
3
0

3
2

0
0

3
1
2

G9/D
B b/D
A7
j

b
#

III 2/6

A7

4
3

12

1
0
2

3
3

2
0
2
0

VI 2/6
F/D
A7/G
G/D
j Gdim/D
j
DB b/D j
D7
b
VII 4/6
n

#
# 4 n j
64
V
.

p i
VII 3/6

X 3/6
4

V 4/6

3
2

1
2

57

12 10
10
10
0

9
8
9
0

0
0

10 8
10
10

j n
j b
V

G7

C7

6
7

8
6
7

6
7

56 5

j n
j b

G7

1
1

C7

5
5

6
7

5
7

7
7

89

j
j


C

1
1

2
3

G7

5
5
6
5

j
j


C

fi G7

G7

61

7
8
7

6
7

D.S. al Coda

5
5

Coda

C7

G7

V .. j b

w
w
65

.
.

0
3

0
3

G7

C7

G7

j
b j ..

w
w
Repeat and fade

3
0
3

0
3

.
.
30

Simon
Fox

A Month of Rain

ello and welcome to the first in a series of articles

that I will be presenting for Fingerstyle360. We
will be digging into the related tunings DADGAD
and CGCGCD, and some new ideas with the DAAEAE tuning.
The goal is to use these tunings to write melodic and memorable tunes. We will see how to go further than the obvious
sounds offered by the tuning, and also learn about techniques that add detail and personality to our melodies.
The first tune we will look at is called A Month of Rain from
my Winters Tale album. Remember that when we talk about
notes and chords in the tunes, we ignore the capo completely. So, although the capo is on the 3rd fret for this tune, we
discuss the tune a being in the key of C with no capo.
This is a delicate tune, which starts off in the key of C major,
as is most common for this tuning. Listen carefully to the
legato effect in the melody, which adds to the fluid feeling in
the tune. Measure #2 shows an example, where we hammer
onto the 2nd fret, and then rapidly hammer onto the 3rd,
then 5th fret. This adds a sense of pace to the tune, even
though it is a lullaby, and keeps the listener engaged. This
first section covers some standard CGCGCD chord shapes too,
for example in measures 10 and 12, and are worth spending
time to familiarize with.

At measure 17, the key changes from C to Bb and some

unusual fingerings arise. This section has little rhyme or reason and came about from just trying to hear what should
come next away from the guitar. For example, the measures
22 to 27 move the bass around with several accidentals
(notes that dont fit the key signature). With these open tunings, it is important to make sure you are the one driving the
piece, not the tuning. When writing, sit back and think where
you would like the piece to go and try recording yourself
humming the melody before attempting to play it. Never settle for something that just fills the gap.
The final part starting at section 33 uses the old standard
descending bass theme. I will tread carefully with these common ideas to avoid a clich. In this case, I felt the tuning
brought new life to the theme and the left-hand legato work
draws the attention of the listener away from it. Keep these
left-hand ornaments very light and avoid sudden releases on
pull-offs.
The tune is also a good exercise in right-hand organization.
Always try to avoid plucking the same finger twice in a row,
and involve your ring finger where possible. Keep your pinky
finger off the soundboard, and think about rain!
www.simonfoxguitar.com

32

A Month Of Rain
A Month
of Rain

Tuning
CGCGCD

Simon Fox

V 44 ..

.0
.5

T
A
B

0 2
0

V
9

0 2

0
4

0
5

32

3 5

0 2

0
4

35

0 2

0
5

5
0

0
5
2
2

2 32 0

0 2

2 32 0

23

3 5

32

4
2
0

0 2

0
5

0
4

4
2
0

4
2
0

bb

0
0

0
5
2

0
3
2
0

23

0
0

2008 Simon Fox (Amcos Societies, Australia)

33

0 2

35

3
0

17

0
4

V b

3
5
3

0
4

0
5

0 2

0
5

13

4
4
2

0
5

35

0
5

0
5

7
3

75 3

0
5

3
0
5

j
V b

21

3
5
3

5
0

3
0

0
3
2
0

23

23

02

#
0

32 0

0
5

05

5
4

0 2

2 32 0

2
0

4
4
1

23 2

5
4

0 2

3
2

2 32 0

2
0

5
0

0 2

2
0

5
0
5

..
.
.

0
0

..

45

05

05

2
0

42 0

2
0
0

37

05

j
j . j j .

4
4

3
6

33

j . j j
.
V.

.
.5

29

V j

02

75 3

25

b
n
V b n

n
0

.
.

ww
w
w

0
0
0
0

34

Sight & Sound

Books

Douglas Niedt
How to Make a Million Dollars Playing the Guitar
For years those in the know
have admired Doug Niedt as
one of the finest guitarists in
the history of the instrument.
Now to the surprise and good
fortune of many, he has
authored How to Make a
Million Dollars Playing the
Guitar.

While making a million dollars

is certainly a theme of the
book, its much more than
that. Armed with his own
experience of over thirty
years, as well as four years of
research, Doug has compiled a
book filled with the wisdom of
a seasoned prohe asks the
reader to not only understand
their goals but to truly understand themselves and their commitment to music. Once that is established, the principles in the book can be applied in a successful manner.
Topics in the book include having a mission in life, learning from failure, mental attitude, business procedures, internet sales, home
recording, taxes, booking gigs, and more. If youve made the decision
to make the guitar your lifes work, or youre considering this path,
How to Make a Million Dollars Playing the Guitar is a must have.
www.milliondollarguitarist.com

Hemme Luttjeboer
The Complete Idiots
Guide to Guitar
Excerises

As a transcriber, Hemme
Luttjeboer has worked on
250 books for artists such as
Eric Clapton, Vince Gill, B.B.
King, Jeff Beck and Jimmy
Page, Eric Johnson, and
many more. Hemme is also
an accomplished player in
his own right. His work has
appeared in magazines such
as Guitar Player, Guitar
World and Fingerstyle
Guitar.

Hemme has now stepped out as an author with The Complete Idiots
Guide to Guitar Exercises. While the book is not for the virtuoso player,

35

dont let the title fool you. The book not only introduces the beginner
to the basic skills of the guitar, but it progresses into areas such as
the harmonized scale, chord inversions, rhythmic patterns, major,
melodic minor, harmonic minor, pentatonic, arpeggios, picking technique, and much more. The 264-page book contains over 150 written
examples and a CD with 91 audio examples.
We highly recommend this book for students new to the guitar.
www.musiconpaper.com

DVDs

Howard Morgen
Fingerboard Breakthrough
During his fifty-year career, Howard Morgen has established himself
as one of the most knowledgeable musicians the guitar world has
ever known. His dozens of books and hundreds of articles have given
great insight to countless musicians. Howard describes Fingerboard
Breakthrough as his lifes work.

In this nearly five hours of

interactive content,
Howard shares his harmonic concepts and visualization techniques that will
give guitarists of all levels
and styles a greater understanding of harmony.

The course is organized

into 23 sections and comes
with a 132-page PDF manual. Some of the topics covered are octave shapes,
triad application, inversions, cycle patterns, walking bass lines, chord
embellishment, re-harmonization, slash chords, and much more.

Fingerboard Breakthrough has the potential to change your understanding of harmony and the guitar fingerboard. We highly recommend it for all serious students of the guitar.
www.howardmorgen.com, www.truefire.com

CDs

Martin Taylor/Spirit of Django

Last Train to Hauteville
As a child, Martin Taylor grew up hearing his fathers recording of

Django Reinhardt and Stephane Grappelli. As early as age three,

Martin was attempting to play along with his little ukulele. Little did
anyone know that twenty years later he would start an eleven-year
journey playing and recording with Stephane Grappelli.

In 2004 Martin bought a 17th century home in France as a retreat

when not touring. This second home became a place to enjoy food,
friends, and laughter. It also served as a source of inspiration where

Martin composed the

music for
Last Train to
Hauteville.

Martin originally formed

his group
Spirit of
Django in
1994 and
they recently reunited
to record
Last Train to
Hauteville.
The group consists of two guitars, clarinet, bass, drums, and accordion.

The music of Last Train to Hauteville is filled with beautiful melodies,

rich harmonies, amazing solos, and the spirit of Django and
Stephane.

Like the countryside of France that inspired this music, its best
experienced rather than described.
www.martintaylor.com, www.theguitarlabel.com

Tom Hemby
In The Moment

In Nashville,
Tom Hemby
is known not
only as an Astring session
guitarist but
also as an
award-winning producer. Tom is a
Grammy winner as well as
a four-time
winner of the
Dove Award.
As a guitarist
he has
recorded with
artists such as Michael McDonald, Amy Grant, Vince Gill, Steve
Winwood, Wynonna Judd, Faith Hill, Garth Brooks, Brian McKnight,
Matchbox 20, and many, many more.

In The Moment showcases Toms talents not only as an artist but as

a composer and producer. On this fourteen-track tour de force youll
hear red hot guitar much in the style of Larry Carlton. Session legends such as Nathan East and Vinnie Colaiuta lay down rock-solid
tracks along with Nashville session players such as Pat Coil, Craig

Nelson, Gary Lunn, and Mark Douthit. Legendary producer/pianist

Michael Omartian makes an appearance on the track Can I Count
on You. Friends Vince Gill, Amy Grant, Christopher Cross, Melinda
Doolittle, Bill Champlin and brother Ron Hemby join in with vocals
on the track.

Tom Hemby is one of the finest studio guitarists in the country. Fans
of contemporary guitar styles should without doubt add In The
Moment to their collection.
www.tomhemby.com

Tom Doyle
Tribute to Les, Mary, and More

Inspired by
the recordings of Les
Paul, nineyear old Tom
Doyle begged
his parents
for his first
guitar. Little
did they
know Tom
would one
day befriend
the legend as
well as play
with him.
Tom worked
with Les at
the Iridium from 1996 until his passing in 2009. Toms passion for
Les Paul was not only for his playing but also his genius regarding
recording technology and guitar design. Tom has gone on to play a
great player, guitar builder, and engineer.

Toms most recent project is a tribute to his mentor for all his contributions. When one records a tribute to Les Paul, it is understood
that Mary Ford would also be an important part. Sandy Cory lends
her fine vocals and captures the magical spirit of those classic
recordings. Tom and Sandy takes the listener on a nostalgic trip with
classics such as How High The Moon, Caravan, Ill See You In
My Dreams, Bye Bye Blues, and six others. This is a great addition
for collectors of Les Pauls music and just plain fine guitar playing.
www.tomdoyleguitars.com

Want more of what

Fingerstyle 360
has to offer?
go to:
www.fingerstyle360.com
or Like us on Facebook

36

Little Fingers

Master Workshops

By Adam Rafferty

reets fellow pickers! Whether you have small, medium or

large fingers I hope youll enjoy playing my tune, Little
Fingers. This is a tip of the hat to the sound of Jerry
Reeds guitar music, but it also has some Count Basie Tuxedo
Junction groove thrown in. Its a 32-bar, bluesy medium swing
tune.
Its based on a typical blues counterpoint idea often heard at
the final ending of many 12-bar blues tunes. If you have ever
jammed on a blues with other musicians, you have likely played
this at the end of the tune. I end my tune Vitamin E Blues with a
riff just like the opening riff of this song. After one night of practicing, this new little tune idea just popped out and said Hi! I can
be a tune too! Little Fingers was born (or should I say were
born?).
Example 1 shows the 2 outer voices of this idea melody and
bass. Look at how the melody line descends, and the bass line
walks up. In music school thats called contrary motion voices
moving in different directions to give the effect of being independent lines.
Example 2 shows the same idea, but a little more filled out by
adding a middle voice. Very often, just 2 voices can sound a little
stark or skeletal, so adding a 3rd middle voice helps add some
harmonic satisfaction. Whats cool about this is that it looks like
chords but because we are intelligent musicians, we know its 3
voices of a blues choir not chords as they are typically thought
of. Voice leading strikes again! Aha!
Rhythmically speaking, something very important is activated by
Ex. 1

#### 4
V
4

T
A
B

Whats the big deal about that? you ask. Dizzy Gillespie would
spend rehearsal time whipping his big band into shape so theyd
perform these accents properly. In swing and jazz, many play
8th notes like da bee, da bee, da bee, da bee for 1 + 2 + 3+ 4 +.
(Example 3). Thats a corny kind of sound just the sound Diz
did not want!
Try this by singing or scatting the following syllables: Start on the
and of beat 4 with the scat syllable BA, and with OO land on
beat one. Ba-oo, Ba-oo, Ba-oo, Ba-oo (Example 4). Thats a much
groovier way to count 8th notes. Dizzy would have his whole big
band sing their parts with these scat syllable accents to teach
them. I wasnt there, but my main teacher Mike Longo was his
pianist form 1964-71 so I got the stories and lessons pretty much
from the source.
This concept cant just be in your head or ears it has to manifest
as fingerings and sounds. Play the fingerings hammers and
slides as written, and youll fall right into the pocket!

n
#

# #
V # #

n
#

0
2

0
1

0
0

37

proper phrasing of the melody. The

rhythm of the melody going into measure
1 puts a strong accent on the and of 4. It
then hammers onto the first fret on beat 1
with a weaker sound. So, strong sound
happens on the and of beat 4, weak
sound happens right on the downbeat. Its
a bit inside out, when you think about it
so dont think too much just play the fingering as shown.

Ex. 3

Da Be Da Be Da Be Da Be

Ex. 2

0
3

1
0

Ex. 4

J
Ba

oo

Ba oo Ba

oo Ba oo Ba

The accompanying sound file here is not the actual recording

from the CD, Chameleon. I re-recorded it (and made a Youtube
video) because I felt that the piece has evolved due to playing it
on the road every night. Tweaks, practice and improvement is a
never ending process! Look on Youtube for this version, and
youll see the fingerings in action.
Youll hear 3 choruses total, but the tabs and notation here are
just the tune, i.e. the basic 32-bar song with the ending. This
ought to keep you busy for a little while! Once you get the basic
tune under your fingers, be sure to join my online mailing list for
a full tab download with the 2nd and 3rd chorus with the full single line solo, shout chorus, and other arrangement ideas. Sign up
at adamrafferty.com/freetabs and Ill send it out as soon as its
ready!

left hand to slip and slide up and down one fret at a time whatever is needed.
Another musical idea: fool around with letting the open Es in the
song ring out, especially in the first A section. I originally clipped
the open Es short which is what you will hear on the CD version but have been allowing them to ring lately, as heard on the
newer sound file. Letting notes ring can add a level of relaxation
to the music.

Technical tip: I use a left hand shape on the G and high E

strings, leaving the open B string and move these around up
and down the neck for some other transitions.

Last tech note: pay attention to keeping a low volume on the

backbeat click sound of the thumb or thumpick hitting the bass
strings where the Xs are written. Its a butt-kickin, fun and funky
thing to do, but it can easily become the loudest sound of the
music when left unchecked and on some of my recordings, it has.
I am always surprised at how loud it sounds on recordings, compared to how good it feels when I am playing. It gets louder as
you add high-end EQ and compression if you record. Live and
learn! If you are not sure, try recording yourself.

See measure 16. The idea is much like measure 12, only broken
up rhythmically. I pluck with P, I, M on the right hand. Due to the
limitations of my notation, it is easy to do on the guitar but hard
to write out! Just let the left hand notes ring out, and allow your

This tune is wide-open territory for you to make up your own

ideas and improvise as well. Be creative, have fun, and Im looking forward to hearing your version soon!
Enjoy!
Adam

38

Little
Fingers
Little
Fingers

q q=q e
3

Adam Rafferty

j
j j .
j
j
j .
n

# #
j
V # # 44 n

T
A
B

j
#### n
# n
V

.
J
4

barre top 3

# # # # n
b
V
n
3

3
4
3
2
3

j
#### n
# n
V

.
J
2

12

V
16

####

0
0

0 2

j j j .
j j j .
j .

j j .
n

n #

# n
#

0
0

0
1
0

3
4

1
1

0
2

n .
4

2
3

j
j j j .
j .
j j .
n

n #
n .
#

J

n #
3

0
0

0 2
2

j j
n
j
j

b n b
n
n #

b
.
3

2

01

5
0

39

n .
#

n J # J
3 2

fi

2
2
2
1
2

To Coda
3
j
j j j .
j
n

.
j j .
.

n #
n #
n .

j
.
n

j
.
#

6
0

0
6

7
6

2010 Adam Rafferty

0
6

0
6

7
8

barre
j j j
j
j
#
j
n

## #
j n #

j n j b n

#
#

n
n #
V

.
#

3
D.C. al Coda

20

0
6

fi

25

0 2

3
3
3
2
3

2
2
2
1
2

n .

2 0

3
#### n .
n b n

V
n #
n

n b n

n #
n
3

0 2

3
3
3
2
3

2
2
2
1
2

j j n j
3
3

n
n .
n

#### n .

#
V
n #
n #
n #
J

J
. #
.
.
J
J
J
3

29

0
0

0 2

3 2

0
01

n
3
n #
####
.

V
n

3
n
3
4

33

12 10 7

10

n
n
5
5
5
4
5

9
6

j
j
# #

j
j
n

6
6
6
5
5

X = Tap guitar top measures 34-35

10

...
.
.
.

7
7
7
6
7
0

40

The Backpacker

Master Workshops

By Tim Farrell

he Backpacker started out with the idea that is the

main melodic theme. I would play it as a cool sounding
warm up thing. One day I was playing it as I was preparing to perform for one of my endorsing companies at the NAMM
show. This guy ran up to me and said, Keep playing that! Then
he started to jam along on a funky little single string instrument.
He jammed with me for a bit and then as quickly as he had
appeared he disappeared. After he left someone asked me if I
knew who he was and I said, I have no idea. He told me that my
jam buddy was Bob McNally the guy who invented the
Backpacker guitar that the Martin Guitar company sells. It turned
out that the instrument he was jamming with was the Strum
Stick, another of his inventions. This encounter inspired to develop the musical idea and make it into an actual composition. Of
course I had to call it The Backpacker.
The Backpacker is an original tune with a bit of a Celtic flavor,
which I believe is what attracted Bob McNally to it. It is not in a
tuning normally associated with Celtic guitar music such as
DADGAD or Drop D. It is in Open E. I use open E a lot, it is bright
and lively and well ... open, with lots of energy and vibrancy.
The key to playing The Backpacker well is having it sound alive
and energetic. Do not play it too fast though or you will be off to
the races and probably blow out a tire. Let the notes ring out and
compliment each other as you play. The harmony is simple so use
the openness and fullness to bring it to life.
I always emphasize to every student the importance of working
out your fingerings for both hands as you learn a piece. The fingering for fretting notes are notated in the music. Follow this
from the beginning and it will become second nature very quickly. For your picking hand things fall mostly in the pattern of the
thumb plucking the 4th, 5th and 6th strings while the first finger
plucks the 3rd string, second finger plucks the 2nd string and
third finger plucks the 1st string.
We will call the main melody the A section. It is a descending
phrase that mixes fretted and open notes that harmonize as it
goes down. Then goes into a kind of suspended dance feel at

41

measure 8. Your picking hand is going to

be busy so keep it steady and smooth.
Think about the dynamics, start out softer in the beginning and bring it up
towards the end in the dancing phrases.
The melody starts again and these times
the dynamics are already up a notch.
Again swell with the dynamics in the
dancing phrases towards the end. This
time the dance phrases are extended and
a little more syncopated.
Starting at measure 29 we will call it the A.2 section. It is a fun
series of runs using pull offs and hammer ons. Make these phrases clean and let the chords that happen every other measure ring
clear for shimmer and contrast. In measure 32 hold down each of
the half notes and hammered notes and so you end up with an
F#m chord.
In measure 38 we start a new section we will call the B section.
The melody is written within the chords so keep the chord forms
in place and only move the necessary fingers to bring the melody
out from within. They are simply an A and B7 chords.
Measure 47 restates the main melody from section A again, this
time an octave higher. The melody rides down the third string
and harmonizes with the open strings. This is a nice variation on
the melody and harmonic voicing. We come to the suspended
dancing phrases again and then into a repeat of the B section.

At

measure 72 the main melody appears again in the higher octave but this time it is a mixture of harmonics and
fretted notes. This is meant to open up the melody and
make it light and airy. Let everything blend together like a midsummer nights dream. The melody will then descend into the
dancing phrases, which are now extended and repeated. Keep the
energy up and increase the dynamics gradually until you end the
piece with a flourish.
Most important of all, have fun with it!

timfarrellmusic.com

The Backpacker

The Backpacker

Tuning: EBEG#BE

Tim Farrell

#### 4
3 3 3 3 3 w

V
4

w
3

T
A
B

V
5

####

0
2

5
5

5
0

3
3

w
w

0
0

2 4

0 2 0

0
0

####
V

J
3

24

0
0

0
0

0
0

0
0

.
.

.. 44

3
3
3
3
3
3
3
#### 4

V
4

J
3

13

# #

V # #

J
3

17

0
2

5
4

0
0

0
0

0
0

24

0
0

0
0

0
0

3
3
3
44

7 9

7 0

0
0

4 0

4 5 4 0
0

2 4 2 0
0

0
0 1
2
0

2005 Tim Farrell. Used by Permission

42

####
V

21

7 97 0

5 7 5 0

4 5 4 0

0
2

7 9

0 2

0 2

0 1

4 0

3
3

####
2

24

44

harm. 12

45 4 0

2 4 2 0

7 9 7

0
0 1
2
0

5 7 5

4 5 4 0

0 5 0

0 4

# #
V # #
w
3

32

0 4

0 5 0

.
4

0 4

0 5

0
5

12
0 12
12
12

0 7 0

0
5

9 11 9 0

3
3

w
w

0 5

0 4

7 9 7 0

28

#### 4

V
4
.
w

0 7 0

0
5

24

0 7

37

15

0
13

0
12

0
10

0
8

0
5

0
3

0
0

0
5

0
4

0
2

0 7

w
3

3
3
3
3
3
3
3
#### 4 w

V
4

w
3

43

44

3
3
3
3
3
3
3
3
3

## # 3 3 3

V

w
w

41

15

0
13

12

10

0
3

2 0

2 0

0
0

3
3
3
3
####

J
3

45

V
49

####

0
0

0
0

0
0

w
J
3

0
0

0
0

0 4

0 5 0

0 4

57

0
5

0 4

0 5 0

0
5

0 4

5
0

5
0

0 7 0

0
5

0 7

3
3

w
w
3

0 5

0
5

####

V

.
w

3
3

w
w

0 5

0
2

53

####

.
w

0
5

0 7 0

0
5

24

0 7

44

#### 2
V
4

44

61

w
3

<12 >

<5 >

<7 >

5
4
0 0
0
5
5

<12 >

<5 >

<12 >

2
2
1
2
0

3
3
3

3
3
3
3
3
3
3
3
3

66

ww
ww
w

####
V

<12> 9

<7 >
<5 >

5
4
0 0
0
5
5

<12>
<12 >

2 0
0

2 0
0

0
0

0
0

3
3
3
3
3
3
3
3
####

J
3

71

0
0

V
76

####

0
0

0
2

0
0

0
0

0
0

0
0

0
0

3
3
3

J
J
3

0
0

0
0

0
0

2
0

0
0

0
0

0
2

81

2
0
0

0
0

0
0

0
2

0
0

0
0

0
0

0
0

0
0

0
2

5
4

5
0

# # # # 3 3 3 3 3 3 w
V

w
J

45

0
0

0
0

Little Bird
Master Workshops

By Eric Frederickson

ittle Bird is from my soon-to-be released book titled A

Long Time Coming. The title speaks for itself. I have been
composing music and lyric for over forty years, the time
has come! However, I would have never guessed that my first
release would encompass classical guitar music. It goes to show
that life is always ready to surprise.

I still remember the day I heard an advertisement on the now

defunct classical station in Saint Louis that classical guitar virtuoso John McClellan was accepting new students. To my credit, I
made the call. John and I hit it off right away and he has been a
great coach ever since. I was devoting serious time to the classical guitar for the second time in my life and when the creative
juices flowed I was directed towards composing new music for
the classical guitar.
John soon expressed interest in recording my compositions. I
jumped at the opportunity! The recording you will hear of Little
Bird is John playing his Keith Adams guitar. I might add he did a
fantastic job.
I have always thought melodically while supporting the melody
with interesting harmony. I believe Little Bird reflects this
approach. The melodic flow tries to capture the nuance and beauty of a colorful little bird.
I believe the listener quickly identifies with the melody as the
first four measures repeat in bars 5 and 8. A new melodic phrase

47

is introduced in measure 9 as the E7

chord modulates the tonal center to the
key of A major. Then an immediate turn
to A minor followed by a return to the
key of E major. This part of the melody
repeats up to measure 15 where it then
returns to E major by the way of the
dominant 7th chord, B7. This is followed
by a restatement of the opening theme.
The B section takes on a minor tonality
as it moves into C# minor, the relative
minor of E major. Notice the ascending movement in the bass as
if the little bird is soaring into the sky before returning to her
resting place. Once again, we admire the little bird as we repeat
the theme and end with a cascade of eighth notes as she flutters
away.
Little Bird is dedicated to my mother, Eunice, who passed away
five years ago. As a boy, I had the nickname of Little Bird
because I could fly like a bird when I ran. My friends all lovingly
referred to my mother as Mrs. Bird. It is truly fitting that Little
Bird is the first song heard from this new collection.
I have enjoyed sharing the music and story with you. Feel free to
email me for information on the release date and ordering information.
EWFreder@aol.com

Little Bird

Little Bird
II

J J

#### 3
n

V
4
. J
4

4
3
4

2
2
2

0
2

4
3
4

# # # # n
V
n
.
3

7
5

9
9

9
7

#
# # # n
V
n
.
V 5/6

13

7
5

9
9

17

0
1

4
3
4

8
10

7
9

5
7

4
2

9
10
9
9

2
2

11
12
11

10
11

12

5
2

2
4
2
4

4
4

5
6

4
4

7
7

0
VII

.

J
.
3

II

J
J
J
2
2
2

J
.

IX

5
5
6

IV 4/6

# #

V # # n
. J
0

5
5
6

9
7

J
.
5

.
J
.

j
n

.


J n
.

J
.

2
4
2
4

V 3/6

7
5
7
6
5
0

V 3/6

V 5/6

2
4
2
4

2
2
2

7
5
7
6
5
0

II

J
J
J

# #
n
V # #
. J
1

.
J
.

T
A
B

Eric Frederickson

.
J
.
0

0
2

2010 by Eric Frederickson

48

J
J

####
n

V
J
.

II

21

4
3
4

2
2
2

.
.

4
5
4
4

9
9

# # # #

5
6

37

2
2
3
2
4
2

49

4
4

.
.

8
10
9

n
n

1
2
2
3

10

12
13

10
12

0
2
1
2

8
10

8
10
9
0

10
9
11
9

10

10
10

10
12

12
13

8
10

j 3

4
5
4
6
4

9 10 9 7

<7 >

n
. J
0

nat. harm.

7
7
8
7
9
7

10

IV

j 3

VII

10

7
9
7
9

j
n
n .

J
.

IX

7
9

8
7
8
0

10
9
11
9

2
2
2

5
7

n # n

n .
n

..

J
.

j


4

4
5

10

VII

33

4
5
4
4

29

8
8
0

j
n .

n
.

IX

7
9
7
9

j
.

7
9

5
7

n # n

IV

#
# # n

V # # # n

. J
2

4
5

2
4
2
4

VII

0
0
6

II

1
4

25

# # # # ..
# ..
V
..

..
n

7
8

5
2

IV

# # # # ..
V
.

n n
. J

0
1

4
3
4

5 7 5

<4 >

II

J
J
4

2
2
2
0

2
2

####

. J
V
J
.
41

2
4
2
4

j
.

n
n
.

46

7
5
7
6
5
0

# # n
V # # n
.
7
5

9
9

9
9

5
5
6

4
3

9
11 12
10 10
12
9
11
9
11
0

2
4
2
4

4
4

5
6

4
4

7
7

4
3
4

II

J
J

n
. J

n
. J

56

5
7

II
# # # #

j
.

J

J

.
J
2

7
9

J
.

2
2
2

9
10

2
4
2
4

IV 4/6

VII
j
.

5
5
6

J
.
5

j

.
J n
.

IX

. J

9
7

V 3/6

9
7

V 3/6

51

7
5

2
2
2

V 5/6

7
5
7
6
5
0

4
3
4

II

V 5/6

#### .
V
J
.

J J

n
. J

4
3
4

2
2
2
0

U
####
j 2 n n
34 j .



V
4

.
.
1

61

5
2

2
4 4
2 2
4
4

10

10

0
11

1
0

50

CHARACTER

CHARISMA

The Charis Acoustic mission is to provide its customers

with the finest quality, personally crafted guitars available.
989.686.9775

www.CharisAcoustic.com

CHARIS

Morning Ra

By Tom Pender

unexpectedly as it does not really lead back to B Dorian. This

inspired moment while vaca-

instantly gave me the contrast that I was seeking in order to keep

tioning in a beautiful setting as

the piece interesting. The choice of D minor is a common composi-

Master Workshops

orning Ra was the result of an

I was drinking my coffee. My guitar

tional technique of moving to the parallel minor from a major tonal

always accompanies me wherever I go

center. After playing around with such vacillation and eight bars

as that golden moment of inspiration

later I cadenced with Eb9b5 to DMaj7. In developing these next four

may occur at any place or any time.

bars, I was able to give myself a good escape route back to the origi-

Some elements were unconscious but

nal key of B Dorian by working down the progression and cadenc-

others more conscious as certain com-

ing with F#7. The little moving voice within the F#7 also assisted in

positional aspects helped me continue in the creative process. After

all, the Latin origin of the word compose, componere, literally

leading back to B Dorian by creating tension calling for resolution.

means to put together.

In the end, with a little inspiration and a lot of perspiration, I was

As the title of the tune indicates, I started the tune as a simple

where I was and what I was doing at that point in time. So, the

motive over a minor chord that moved up the dorian scale. All of

moral of the story, never go anywhere without your guitar!

this came quite spontaneously. Next, I began to work in a bass line

in which I had to think through in order to play the two together.
With a repeat, I was able to create an A section of 16 bars.

able to create a short little piece that will always remind me of

Enjoy!
www.tompender.com

The cadence on a bitonal of A over G leads to the B section a little

52

Morning Ra

Morning Ra

Thomas Pender

j
j
j
j
j

# # 4 j
n # # j b

#
.
& 4
#

n # #

n# #

1

3
2
4
2

2
2

% #
& #
6

5
4
6
2

4
3
5
3

12

11

5
4
6

4
3
5
3

9
9
9

10
7
7

12

9
9

7
7
7

10
9

12

10

10

9
9
9

12

12

j .

#
# b

9 10

11

10

.
.

5
4
6
4

#
#

10

12
12 11

fi

7
6
7
5

9
10
9
9

9
12

12

6
5
6
4

1
2
1
1

7
6
7

#

#

b

9
9
9

5
4
6

11

10

10

12

12 11

To Coda

.
# # ...
&

11

9
10
9
9

12

10

12

j
.
#

9
9
9

10

15

7
7

8
7
7

.
.

11
9

#
.
& # 44 .
b.

12

9
12

12

..
.. ..
1
2
1
1

9
10
9
9
10

9
10
9
9

9
10
9
9

4
3

8
7

n ...

.
b n ...
b .
1

5
6
6
5

5
5
5
6

2011 Thomas Pender

53

5
5
3

# n

n n n n 4

10

j
n

b n
n
6
7
8

54 n ..
n .
J

9
10
9
9

10

6
7
8

1
4
3

J
6

3
j
j
n

n
b n
n
.

b.
n
.
.

#
.
& # n n ..

18

5
5
3

6
5

7
7

8
7
7

6
7
8

6
7
8

6
8

# n
b .

5
5
5
5

7
7

5
6
6
5
6

5
6

3
j
# # j

& n #
.

J
3

5 7

5
6
4

6
3

5
4

5
4

26

4
6

9
10

9
9

tap with right hand

10

10
9

9
9

10

9
10
9
9
10

10

1
1

1
2

4 7

n # #
# #

2 3 2

D.S. al Coda

22

fi
##
&

9
3

54

City Blue
Master Workshops

By Bill Piburn

ets take a look at my original tune City Blue. In this column, I will discuss chord voicings, chord alterations, chord
texture, ornaments, syncopation, tritone 7ths and the tritones used as altered dominate sounds. We will also discuss
implied harmony. At times, these points of topic may overlap,
because multiple things can happen at once.
Implied Harmony

When dealing with harmony, one could say that a chord has to
have the major or minor third to define the quality of the chord,
and that is true in a textbook definition. In the real world of hearing music, whether or not a chord is major, minor, diminished,
altered, etc. is often determined by the context; what follows or
precedes is just as important, if not more important. Perception
becomes reality because our ear perceives the sound. This perception is not only based on what precedes and follows a sound
but is also affected by the expected harmony of the key center we
are in at the moment.
A few examples of implied harmony are as follows:

Measures 1 through 8 imply harmony, even though it is just a

bass line without chords or at least full chord structures. This is a
perfect example of implied sound. It is all about where the line
leads and what precedes it. Notice the chord symbols that I feel
are at least implied and see if you agree.
In measure 9, the chord symbol indicates C minor; however,
there is no minor third in the chord. Why does it sound minor?
The answer is in the preceding bass line and with what follows.
The second chord in measure 9 is indicated as an Ab7. Why does
this imply the sound of Ab when there is no Ab note in the chord?
The answer is in the key center, which contains Ab. The flat 7th
and third that follow also affect the perception. It is about context
and perception. You will see the very same thing happen on the
G7 in measure 10.
The last implied sound I will point out is an altered sound that
happens in measure 12. On beat three, you will see the chord
symbol G9#5. The altered sound happens on the upbeat. This
sound is perceived as an altered G only because of the reference
of G that happens in the first beat of the measure. You see we
retain that musical reference. If I had played the same notes
alone you might hear it as a B7th chord why? They contain the
same notes. The answer is reference; in other words, implied harmony. As you play other arrangements and arrange for yourself,
keep it in mind to look for these implied sounds and use them to
your advantage.
Syncopations

Syncopations are nothing more than playing the note or chord on

the upbeat, a.k.a. the weak beat. They can be cut short or tied
over into the following downbeat. Musicians refer to this as a
push. You can make the personal choice as to pushing the top of
the chord, bass only or whole chord. For single note references,
take a look at the intro. Chord syncopations happen in several

55

places within City Blue. First, take a

look at the Ab7 in measure 10 going into
measure 11 and then, take a moment to
spot other syncopations. I encourage
you to start using syncopations in your
arranging and playing. It is really a feel
thing. Dont over think it, feel it.
Chord Voicings

Chords can and should vary in texture,

meaning density or number of notes
played. At times, I choose to play full
chords and other times just two or three
notes. I like to vary the texture. This is always a choice done by
ear. Use your ear but be aware of the choices you have.
Chord Texture

I only used a couple notes to outline the chord sounds in measure

9. As it moves into measure 10, you will see three note chords. In
measure 14, you will see a four-note chord on the Amin7b5 and
at the end of the piece in measure 35. I used several five-note
chords for a bigger and more dramatic ending.
Tritones

A tritone is an interval of a raised 4th. This intervallic distance is

created and found in all dominant seventh chords. The interval of
a tritone happens between the third and the flat 7th of the chord.
It is a great tool to use and understand that we can outline the
sound of a 7th chord by only using those two notes. The root of
the chord can be left out. Take a look at the Ab7 in measure 9 and
the G7th in measure 10. Look for the tritone shapes on the fingerboard. They are very useful built off the 6th, 5th, and 4th strings.
Tritone Used as Alterations

I have found that the tritone shapes can be moved around the
guitar to imply altered sounds. The key is to first establish the
chord sound, as I did in measure 12. Beat one outlines the G7th
while a tritone shape moved up to D# and A outlines the sound of
G9 (#5). This is a powerful tool! If you incorporate it into your
arranging and writing you will be amazed at the sounds you will
find.
Ornaments

Ornaments are slides, slurs, hammer-ons, and pull-offs that can

really help the phrasing and feel of the music. Especially when it
comes to the blues sound. Where would Ray Charles have been
without slurring into the notes, both in his voice and piano?
Where would B.B. King be without the bent slurs? In City Blue, I
do not use bent notes, but I do use many other ornaments.
I have discussed several topics in this article that I believe will
make you a better player and arranger/composer. Give it consideration and, if you apply it, you will open new and exciting possibilities for your music.

Blue
CityCity
Blue
b

C-

Dm7 ( b 5 )

A 7

b 4
V b b 4 .

j
b .

C-

A 7

C-

j
b .

b
b b j n
b
V
b
J
2

b n .

C-

8
8
10

IV

III

3
1
1

j
.

4
3
4

n
J

b
j
j
n b
b
J
A 7

IV

8 10

3
2

7
6

Cmin6
j
j
n .. n

.
J

b
j

b
b
J

G7

D 9

..
..

4
4
3

III

45

5
5
6
5

4
3

...
.

1
2
1
3

4
4
3
4

F13/E b
G13/F
G b13
b
A b7

j
j
n. n jb b n nn b
b J

J
n
J
hinge
4

E /D

Am7 ( b 5 )

4
3

8
6

17

b
j
b
!
V b b bb
J
4

G7

VI
8
9

45

j
#

n .
1

D 7( b 9)

Cm9

IV

B7( # 11)

3
4

C-

4
3

4
3

VII
8

A b7/C
j
G7/B
b
j G9#5
r

.
.
n b . n j j
n
b


b n # J J
J
J J
J J
III 4/6
6

B/C

VIII

# n
b
b
b
V
J

13

5
4

A 7

III

5
5

G7

A 7

C-

G7

A 7

j
b n
3

C-

C-

Dm7 ( b 5 )

A 7

b
V b b .

G7

b n .
1

mutted bass intro.

T
A
B

Bill Piburn

VI

5
5
4

7
7
6

VI 4/6

IV

45

4
4

7
8
6

VIII

9
9
8

5
2

2010 Bill Piburn. Used by permission.

56

# b

F7
A b7
j
r
b
b b . b n . n b

.
n

.
.
b .

J
J
J
J

V b b ... n # ..
.
n
J
J
2

4
3
3
3

fl
b # # n
V b b n J
n .
J
10

C7/B

11 10

10

10

F-7/A

8
76

29

b b

C-

8
8

5
5
3

b j n
n

j
#
#

5
5
3

III 4 sts
3

45
45

43

24 j n
b b
2

III

6
6

II

2
1

E 13
E13 F13
D
D E
4
4

44 # j n b

I
3
2

3
3

F7/A

bb
j

n
n bn #n #
b J n

A 13 A13
G
G

6 3 6
7

35 3

3
6

3
3

6
6
5
5
4

7
7
6
6
5

8
8
7
7
6

11
11
10
10
9

12
12
11
11
10

bb
fl

B 13
A

57

fl

b .
n
J
J
3

76

G 7 F7

A 7/G

j
b
2

5
4

IV 4/6

bb
Bdim
b
B 7/D
B b7
B b7
Cj

# #n
b b n b j
b

V
n . b . .
b # n

J
J
J
J
0

2
1

b
J

J
Vb b
J

33

VI 4/6

34

3
2

IV

F7/A

VIII 4/6
8

j
b .
n .
b
J
J

8
10

8
8

4
5
4

. .
n
J
4

C-

VIII

8
7

G7/B

25

VIII

C-7

B7

IV

12 1

1
2
1

G7/B

A 7/C

A 7

21

III

Am7 ( b 5 )

C7( 5)/B

Cm11

13
13
12
12
11

fl
1

The Petros Jumbo

ruce Petros has been building guitars

since 1972. His son Matthew subsequently came aboard and has been
building since 2000. The father and son
team strive to squeeze out every possible
bit of tone through inspirational,
innovative and non-conventional thinking
and techniques. Bruce and Matt create
approximately 30 guitars per year.

Guitar Gallery

By Bill Piburn

The Petros Jumbo is the newest model in

the Petros line and is their largest design to
date. The body style is also used for their
new Baritone guitar.
The instrument pictured is the Jumbo
Applecreek model. The guitar is made of
master grade Indian rosewood and sitka
spruce. Other features include wood binding, matching wood tuner buttons and topof-the-line Gotoh tuners. The guitar also
has a bone nut and a fully compensated
bone saddle. Other woods and features
such as inlays, cutaways, etc. are also
available.
Body length
Lower bout
Upper bout
Depth
Scale length

20-1/2 in
16-5/8 in
11-1/2 in
4-5/8 in
25 in

Base price - $8,800.00

For more information:
Petros Guitars
345 County Rd. CE
Kaukauna, WI 54130 USA
(920) 766-1295
petros@petrosguitars.com
www.petrosguitars.com
58