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Flatpicking Guitar Magazine July/August 2011


2 Flatpicking Guitar Magazine July/August 2011
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Flatpicking Guitar Magazine July/August 2011
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Flatpicking Guitar Magazine July/August 2011
CONTENTS
Flatpicking
FEATURES

Guitar Matt Arcara: Greasy Coat


Flatpick Profile: Reggie Harris & Old Joe Clark
6
31
Magazine CD Highlight: Jonathan Maness & Mountain Sooul
Crazy Train 57

Volume 15, Number 5 COLUMNS

July/August 2011
Published bi-monthly by: Flatt 5 14
High View Publications Joe Carr
P.O. Box 2160 Beginners Page: The Ballad of Jed Clampett 17
Pulaski, VA 24301 Dan Huckabee
Kaufmans Corner: Maid Behind the Bar 19
Phone: (540) 980-0338 Steve Kaufman
Fax: (540) 980-0557 Taking It To The Next Level: Opus 7, Number 1 21
Orders: (800) 413-8296 John Carlini
E-mail: highview@flatpick.com Nashville Flattop: Your Love Is Like A Flower 24
Web Site: http://www.flatpick.com Brad Davis
ISSN: 1089-9855 Sharpening the Axe: Clash of the Tartans 27
Jeff Troxel
Dan Miller - Publisher and Editor
Nashville Blues 29
Connie Miller - Administration
Kathy Barwick
Jackie Morris - Administration
Contributing Editors: The O-Zone: Fishers Hornpipe 36
Dave McCarty Orrin Star
Chris Thiessen Chinatown, My Chinatown 39
Dix Bruce
Subscription Rate ($US): Music Theory: Practical Applications 43
US $30.00 ($60.00 with CD) Mike Maddux
Canada/Mexico $40.00 Flatpicking Fiddle Tunes: Contest Season 47
Other Foreign $43.00 Adam Granger
My Irish Home 53
All contents Copyright 2011 by Bill Bay
High View Publications unless Eclectic Acoustic: Tando Derrane 48
otherwise indicated John McGann
Reproduction of material appearing Bluegrass Guitar: I Wonder Where You Are Tonight 55
in the Flatpicking Guitar Magazine is Steve Pottier
forbidden without written permission

Printed in the USA


Flatpicking Guitar Magazine


Podcast
We are now broadcasting a new Podcast every month
Interviews, flatpicking tunes, and more. Check it out:
http://www.flatpick.com/podcast.html

2 Flatpicking Guitar Magazine July/August 2011


The Flatpicking Essentials Series

Flatpicking Essentials Volume 1: Rhythm, Bass Runs, and Fill Licks


In the Pioneers issue of Flatpicking Guitar Magazine Dan Miller laid out a flatpicking learning method that followed the chronological development of
the style. This step-by-step method started with a solid foundation in the rhythm guitar styles of flatpickings early pioneersa style that includes a
liberal use of bass runs and rhythm fill licks, combined with rhythmic strums. Volume 1 of the Eight Volume Flatpicking Essentials series teaches this
rhythm style and prepares you for each future volume. If you want to learn how to add interesting bass runs and fill licks to your rhythm playing, check
out this 96-page book with accompanying CD. This book and CD are available in spiral bound hardcopy form, on CD-Rom, or as a digital download.
Hardcopy: $24.95 Digital: $19.95
Flatpicking Essentials Volume 2: Learning to SoloCarter Style and Beyond
The second book in the Flatpicking Essentials series teaches you how to arrange solos for vocal tunes by teaching you how to: 1) Find the chord
changes by ear. 2) Find the melody by ear. 3) Learn how to arrange a Carter Style solo. 4) Learn how to embellish the Carter Style solo using one
or more of the following techniques: bass runs; hammer-ons, pull-offs, slides, & bends; tremelo; double stops; crosspicking; neighboring notes; scale
runs and fill-licks. Even if you are a beginner you can learn how to create your own interesting solos to any vocal song. Youll never need tab again!
This material will also provide you with the foundation for improvisation. This book and CD are available in spiral bound hardcopy form, on CD-Rom,
or as a digital download.
Hardcopy: $24.95 Digital: $19.95
Flatpicking Essentials Volume 3: Flatpicking Fiddle Tunes
Flatpicking and fiddle tunes go hand-in-hand. However, in this day and age too many beginning and intermediate level players rely too heavily on
tablature when learning fiddle tunes. This becomes a problem in the long run because the player eventually reaches a plateau in their progress be-
cause they dont know how to learn new tunes that are not written out in tablature, they do not know how to create their own variations of tunes that
they already know, and it becomes very hard to learn how to improvise. Flatpicking Essentials, Volume 3 helps to solve all of those problems. In this
volume of the Flatpicking Essentials series you are going to learn valuable information about the structure of fiddle tunes and then you are going to
use that information to learn how to play fiddle tunes by ear, and create your own variations, utilizing the following a series of detailed steps.
Hardcopy: $24.95 Digital: $19.95
Flatpicking Essentials Volume 4: Understanding the Fingerboard and Moving Up-The-Neck
The fourth book in the Flatpicking Essentials series teaches you how to become familiar with using the entire fingerboard of the guitar and it gives you
many exercises and examples that will help you become very comfortable playing up-the-neck. With this book and CD you will learn how to explore
the whole guitar neck using a very thorough study of chord shapes, scale patterns, and arpeggios. You will also learn how to comfortably move up-the-
neck and back down using slides, open strings, scale runs, harmonized scales, floating licks, and more. If youve ever sat and watched a professional
players fingers dance up and down the fingerboard with great ease and wondered I wish I could do that! This book is for you!
Hardcopy: $29.95 Digital: $24.95
Flatpicking Essentials Volume 5: Improvisation & Style Studies
Are you having trouble learning how to improvise? To many flatpickers the art of improvisation is a mystery. In the 5th Volume of the Flatpicking
Essentials series you will study various exercises that will begin to teach you the process of improvisation through the use of a graduated, step-by-step
method. Through the study and execution of these exercises, you will learn how to free yourself from memorized solos! This Volume also includes
style studies which examine the contributions of the flatpicking legends, such as Doc Watson, Clarence White, Tony Rice, Norman Blake, Dan Crary,
Pat Flynn, and others. Learn techniques that helped define their styles and learn how to apply those techniques to your own solos.
Hardcopy: $29.95 Digital: $24.95
Flatpicking Essentials Volume 6: Improvisation Part II & Advanced Technique
Flatpicking Essentials, Volume 6 is divided into two main sections. The first section is Part II of our study of improvisation. Volume 5 introduced
readers to a step-by-step free-form improv study method that we continue here in Volume 6.
The second section of this book is focused on advanced flatpicking technique. We approached this topic by first having Tim May record advanced
level improvisations for nineteen different flatpicking tunes. Tim selected the tunes and went into the studio with a list of techniques, like the use of
triplets, natural and false harmonics, note bending, quoting, alternate tuning, syncopation, twin guitar, minor key tunes, hybrid picking, advanced
crosspicking, string skipping, etc. There are a ton of absolutely awesome flatpicking arrangements by Tim May in this book, with explanations of
each technique.
Hardcopy: $29.95 Digital: $24.95
Flatpicking Essentials Volume 7: Advanced Rhythm & Chord Studies
Flatpicking Essentials, Volume 7 is a 170 page book, with 67 audio tracks, that will show you how to add texture, variety, and movement to your
rhythm accompaniment in the context of playing bluegrass, fiddle tune music, folk music, acoustic rock, Western swing, big band swing, and jazz.
The best part of this book is that it doesnt just present you with arrangements to memorize. It teaches you how you can create and execute your
own accompaniment arrangements in a variety of musical styles. Dont rely on the arrangements of others, learn a straight-forward and gradual
approach to designing your own rhythm accompaniment.
Hardcopy: $29.95 Digital: $24.95
3
Flatpicking Guitar Magazine July/August 2011
Flatpicking
Essentials EDITOR'S
PAGE
Keeping Busy On the Road

This has been an incredibly busy year on the road for Flatpicking Guitar Magazine.
I started out the year, during the first weekend of January, at the River City Music
Festival in Portland, Oregon, and since that time Ive only had two weekends off
from road travel. Ive either been out at a festival or been teaching guitar workshops
with Tim May, or with Tim May and Brad Davis, every weekend.
Ive really enjoyed meeting all of our subscribers on the road and I greatly
appreciate you folks coming up to say hello at the Flatpicking Guitar Magazine
festival booth and coming out to attend our workshops. Things are going to continue
to be busy in the coming months. In July we will be attending the Red, White &
Bluegrass Festival in Morganton, North Carolina; The Grey Fox Festival in New
York, and the Ossipee Valley Music Festival in Maine. After a couple of other yet-
to-be-determined festivals on the east coast in August and early September, we will
be heading out to the Walnut Valley Festival in Winfield, Kansas. This is their 40th
anniversary year and so it should be a great one.
After Winfield, Tim May and I will be heading up to Idaho, Oregon, and Washington
to conduct a series of workshops in the northwest, then we head down through
California and across the southern states from Arizona all the way over to Georgia.
So, keep tuned-in to our email newsletter and well let you know when and where
we will be. Wed love to see you at a festival or workshop!

Doves, Crows & Buzzards CD

In January 2011, Brad Davis, Tim May and I went into Brad Davis studio in
Commerce, Texas, and cut a CD. Brad, Tim, and I have been performing together
for about seven years, but weve never taken the time to go into the studio and record
until this past January. This CD is now available and we had a lot of fun performing
at a CD release concert in Silver Spring, Maryland, back in May. Tim and Brad both
do a lot of mighty fine guitar picking on this CD. If you are interested in checking
it out, please visit the flatpickingmercantile.com website.

Flatpicking Guitar Magazine


Podcast
We are now broadcasting a new Podcast every month
(800) 413-8296 Interviews, flatpicking tunes, and more. Check it out:
www.flatpickingmercantile.com http://www.flatpick.com/podcast.html

4 Flatpicking Guitar Magazine July/August 2011


Now Available! Two New Biographical Books
covering flatpicking guitars two most influential
performers: Tony Rice and Doc Watson!

Still Inside:
The Tony Rice Story
by Tim Stafford & Caroline Wright
A decade in the making, Still Inside: The Tony Rice Story delivers Tonys
tale in his own inimitable words, and in anecdotes and observations from
his friends, family, fans, and fellow musicians.
Tonys long road has taken him from coast to coast and around the world,
through historic recordings and appearances that often profoundly move
those who experience them. More than 100 people were interviewed for
this book, sharing memories of Tony and discussing his indelible impact
on their own music. Alison Krauss, J.D. Crowe, Sam Bush, Bla Fleck,
Jerry Douglas, Ricky Skaggs, David Grisman, Emmylou Harris, Linda
Ronstadt, Peter Rowan, and many others contribute intimate stories and
frank observations of this private, enigmatic man.
In the books final chapter, co-author Tim Stafforda highly respected
acoustic guitarist in his own rightprovides insight into Tonys technique,
timing, right hand, choice of picks, and much more. Tim also discusses
Tonys prize possession, the 1935 Martin D-28 Herringbone guitar formerly
owned by the great Clarence White. Call 800-413-8296 to Order

Blind But Now I See:


The Biography of Music Legend Doc Watson
by Kent Gustavson
From the day he stepped off the bus in New York City, North Carolina music
legend Doc Watson changed the music world forever. His influence has been
recognized by presidents and by the heroes of modern music, from country
stars to rock and roll idols. This is a biography of a flatpicking legend.

Featuring brand new interviews with:


Ben Harper of The Innocent Criminals
Ketch Secor of Old Crow Medicine Show
Pat Donohue of The Prairie Home Companion
David Grisman of Garcia/Grisman and Old and in the Way
Sam Bush, The Father of Newgrass
Guy Clark, Texas Songwriting Legend
Michelle Shocked, Greg Brown, Mike Marshall, Tom Paxton, Maria
Muldaur
And many more!

Both Books are Available at www.flatpickingmercantile.com


5
Flatpicking Guitar Magazine July/August 2011
Matt Arcara
Matt Arcara was one of those young Before we talk about what Matt has plans, he said that he wanted to pursue a
flatpickers who I met years ago and said been doing recently, Ill recap the early career in music. He has done exactly what
to myself, If this guy sticks with it, he is part of Matts career for those who missed he said he was going to do.
going to do very well. I first met Matt our last feature article (Flatpicking Guitar Matt graduated from college in 2004
nearly ten years ago. Since that time he Magazine, Volume 7, Number 2, January/ with a degree in Political Science. After
has, in fact, kept with it and he has done February 2003). The first time we featured graduation he moved to Portland, Oregon,
very well in the music world. In addition to Matt in Flatpicking Guitar he was 22 years continued to play around the northwest as a
winning the National Flatpicking Contest in old and had just released a solo CD titled hired gun, and also started performing with
2006, Matt founded, and continues to tour Matthew Arcara. We reported that he was Tristan and Tashina Clarridge. It was during
with, Joy Kills Sorrow, one of the hottest from Doylestown, Pennsylvania, and had that summer that the band Joy Kills Sorrow
acoustic groups on the festival circuit. started learning how to play classic rock at began to form. Matt explains, I went out
Additionally, he is making quite a name thirteen, and then at the age of seventeen to Rockygrass and met up with my friend
for himself as a guitar builder these days. he discovered fiddle tunes and began Joe Walsh (mandolin) and his friend Karl
I had the opportunity to visit with Matt at taking lessons with Mark Cosgrove. After Doty (bass). We hung out and played music
Wintergrass in Bellevue, Washington, in graduating from high school he spent a year all weekend and found out that we were
February of 2011 and conduct a podcast at Rutgers and then moved out to Eugene, all interested in the same things. Joe was
interview. It was at that time that I realized Oregon, to attend the University of Oregon getting ready to move up to Boston to attend
just how much Matt had accomplished since and study political science. While there the Berklee College of Music and Karl was
the last time we featured him in Flatpicking he also began performing with the Severn a student at the New England Conservatory
Guitar Magazine. Then and there I decided Sisters and he recorded his solo CD. At that (NEC). I had already been thinking about
to put Matt on the cover so that I could time, when I asked Matt about his future moving back to the east coast. Meeting up
let the readers know about Matts many with Joe and Karl in Colorado helped me
accomplishments. by Dan Miller make that decision.

6 Flatpicking Guitar Magazine July/August 2011


Matt made the move back east, landing call letters WJKS meaning Where Joy he had returned in 2005 and made the top
in New York, in December 2004, however, Kills Sorrow. Both Flecks song title five, but did not place in the top three.
before he finally made the move, he stayed and Matts band name are founded in the He was determined to hunker down so
on the road after Rockygrass in order to Monroe story. The band was actually in that he could do better in 2006. Being in
complete a long road trip. After attending the studio recording a demo and needed to Boston, with peers that were really focused
Rockygrass he met up with Tristan and pick a name. Matt said, Joy Kills Sorrow on improvement and pushing ones self
Tashina Clarridge at the Walnut Valley was the best of what we had come up with, musically, that sort of environment is really
Festival in Winfield, Kansas. That year Matt so we just went with it. conducive to working on contest tunes. I
placed second in the National Flatpicking During the first few years the band went would come home from an eight hour day
Guitar Championship and Tristan placed through some growing pains. Matt said, swinging a hammer and work on contest
first in the fiddle contest (Tashina had won We lost our bass player because he wanted tunes for about 2 hours everyday, and I
the fiddle contest the year before). From to pursue more classical work. Bridget started working on them really early in
there they traveled south to Atlanta, attended Kearney was brought in to play bass and the the season too. His practice plan worked
the Tennessee Valley Old Time Fiddlers band added a banjo player, Adam Larrabee. because in September of 2006 Matt went
Convention in Athens, Alabama, (which Adam is a multi-instrumentalist who, at the back to Winfield and won the contest.
Matt won on the guitar) and then headed time, was teaching jazz guitar at NEC. After From 2005 through 2007 Joy Kills
to Nashville to attend the International the personnel changes, the band needed to Sorrow continued to try to find firm
Bluegrass Music Association (IBMA) re-evaluate. Matt said, Karl was from a footing from which to launch. Heather
convention and Fanfest. classical background and did a lot of bowing left the band to join the Wailin Jennys and
After the big whirlwind cross-country on the bass. Bridget came to us from a jazz although the band did release their first CD
music tour with the Clarriges, Matt went and rock background. So, we spent some in 2007, they also lost Adam in that year.
back to Portland, packed up his belongings time re-vamping our material, writing new Matt said, It was slow going for a while
and move to Brooklyn, New York, where material, and gigging a bit. In 2005 Matt due to all of the personnel changes. After
he got a job managing the wood shop for moved to Boston in order to have more time Adam left we added Wes Corbett on banjo
a clothing company. The shop built all of to focus on the band. and Emma Beaton on vocals. When they
the stores displays and fixtures. Regarding After arriving in Boston, Matt got a job joined the band we all decided to spend
his decision to move to New York instead doing freelance carpentry so that he could more time and energy on the band. We were
of Boston, Matt said, Everyone in Boston have enough flexibility to work with the band. re-motivated.
had school commitments and in New York He said, The acoustic and bluegrass music Joe Walsh stayed with the band until he
I was closer to my family, plus I just enjoy scene in Boston is amazing. In addition to was offered a job with the Gibson Brothers
Brooklyn better as a city. wanting to spend more time working with in 2008. Matt said, That is a great gig
Even though he was not living with Joe the band and spend time exploring the music for Joe and so it made sense for him to
and Karl in Boston, he continued to play scene in Boston, Matt also wanted to focus take that job. The band replaced Joe
music with them and the trio added singer some time wood-shedding with his contest with Jacob Jolliff on mandolin. Matt said,
Heather Masse to the line up. Heather was tunes. After placing second at the National Jacob is someone that Ive known since he
a friend of Karls who had just graduated Flatpicking Guitar Championship in 2004, was a 12-year-old mandolin prodigy back
from NEC. Matt recalls, Things moved
slowly at first. We were not really playing
out at all, just getting together to work on
material. We spent quite a while working
out what material we wanted to play and
how we wanted to play it. We would get
together a few times a month. Eventually
we did start playing a few gigs here and
there, but we were not actively pursuing
them. We went out and played some things
that fell into our lap. We werent looking
real hard at first.
In the beginning the band didnt have
a name. When asked how they came up
with the name Joy Kills Sorrow, Matt
explained, Bela Fleck had a tune called
When Joy Kills Sorrow on The Bluegrass
Sessions: Tales From The Acoustic Planet.
In the liner notes he mentions a radio station
in Gary, Indiana, called WJKS that Bill
and Charlie Monroe had played on back in
the 1930s. According to Neil Rosenberg
and Charles Wolfes book The Music of Matt Arcara and Bridget Kearney of Joy Kills Sorrow
Bill Monroe, Monroe had joked about the
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Flatpicking Guitar Magazine July/August 2011
Joy Kills Sorrow has a very busy touring
schedule this year. In addition to playing a
variety of venues all over the United States
and Canada, they will also be performing
at the Pagosa Folk & Bluegrass Festival
in Pagosa Spring, Colorado; the Winnipeg
Folk Festival; the Vancouver Folk Festival;
Rockygrass in Lyons, Colorado; the Grand
Targhee Bluegrass Festival; the Blue Waters
Bluegrass Festival; the Four Corners Folk
Festival; and the Riverhawk Music Festival.
If youd like to check out Joy Kills Sorrows
music and complete schedule, please visit
their website at: http://www.joykillssorrow.
com.

Building Arcara Guitars


In addition to playing with the band, Matt
has also started building guitars. While in
Boston, Matt had started working at a high-
end cabinet shop and was beginning to work
Joy Kills Sorrow (right to left): Matt Arcara, Wes Corbett, on building guitars out of his home. His
Emma Beaton, Bridget Kearney, and Jacob Jolliff background in woodworking had started
when he was a kid helping his dad build an
in Oregon when I was in college. He is described the bands new music as very electric guitar and speaker cabinets. He later
now the first full ride mandolin student complicated Indie-rock played on acoustic built a lap dulcimer for his senior project
to graduate from The Berklee College of instruments. He admits, Thats the in high school and had worked as a house
Music. After Jacob joined the band we had hardest question to answer. What does joy carpenter the summer before he went to
a stable line up and everyone really focused kills sorrow sound like? Its all based in the college. In 2008 luthiers Scott Conley and
on being consistent. Things started to take string-band tradition but with a really wide Jon Cooper, of Portland, Maine, decided to
off from there. At this time we really let view. We, as a band, have lots of respect start a new business that they would call
all the preconceptions of what we were as a for traditional musicians, but at the end of Acoustic Artisans. The concept was to have
band fall away, doing this really opened up the day its just not who we are collectively. a storefront space out of which a number of
the field of what to play and how to play it, Matt said, There is a lot of counterpoints, builders could work. Plans were also made
we also started focusing more on the writing layering, and metric modulation. There to have an instrument building school at
of our bass player Bridget Kearney who is are no instrumental tunes on the new CD the location.
a winner of the John Lennon songwriting and Matt said that he doesnt even think of Matts friend Joe Walsh, who was living
contest. the instrumental breaks on the vocal songs in Portland, Maine, recommended Matt
The band went into the studio in 2008 as solos. He said that they are more like for a position at the new Acoustic Artisans
with the new line up and recorded another crafted instrumental sections because no shop. Matt got the job and made the move
CD. They signed with Signature Sounds one instrument jumps out to take a solo. All to Maine. Since that time Matt has helped
and started touring more consistently. of the instruments play a part in weaving the out with Scott and Jons workload, taught
Matt said, In 2008 and 2009 we ramped fabric of the instrumental sections. classes to students, and worked on his own
everything up. Everyone made themselves Regarding his role in the band, Matt guitars. To date he has built eleven guitars
more available, we got a record label and a said that he rarely takes a guitar solo and he under his own name following the template
booking agent and we started to get more rarely plays straight bluegrass style rhythm. from the 1930s Martin D-18 models, with
dates. Having the record label behind us He said, My rhythm in this band involves some adaptations. Matt uses hide glue,
really help us more forward. a lot of counterpoint lines and crosspicking. dove tail neck joint, nitro finish, through
For the past two years the band has I think more about giving the music texture, saddle, and describes his guitars as very
continued to move forward. After a dynamics, and feel than providing shredding Martinesque.
successful European tour in January of guitar solos. My role in this band is When asked about how he is modifying
2011 the band played Wintergrass and supportive, but I still dont think of myself the 30s-era Martin design, Matt said, My
then went into the studio to record a new as just a rhythm guitar player because what guitars are braced a tiny bit stiffer, the sound
CD titled This Unknown Science, which is I do interlocks with the other instruments hole is slightly larger, and I like to put a
slated for release in September 2011. The in ways more involved then a boom-chick sound port in the upper bout. Matt believes
new recording features almost all original pattern. Im playing arpeggiated motions, that the larger sound hole helps the high end
material. Matt said, We have always been a counterpoint lines, and a variety of chord to cut a little better. He said, The larger
left field bluegrass band, but when Joe left voicings and partial chords. aperture raises the fundamental resonant
we went even farther out in left field. Matt frequency of the box and thus brings up the
relative pitch. I think that helps bring out
8 Flatpicking Guitar Magazine July/August 2011
the midrange and treble. He also feels that
in addition to allowing the player to hear
the guitar better, the sound port also helps
to increase the volume of the guitar out
front. He said, When you have more than
one sound hole the air is able to move more
freely. Banjos, mandolins, f-hole guitars,
and the entire violin family have more than
one sound hole. When you have more
than one sound hole, the air moves more
freely and it sounds more open out front.
It increases the overall volume.
Matt is taking custom orders for
his guitars and also selling his guitar
through the Music Emporium in Lexington,
Massachusetts. On the Music Emporium
website they describe Matts D-18 style
guitar as follows: The Music Emporium is
proud to be the first dealer to carry a guitar
from Portland-based luthier, Matt Arcara.
A Winfield National Flatpicking Champion
himself, Matt has made an impressive leap Matt Arcara working on one of his guitars
in a short period of time with his vintage-
style instruments appointed and voiced for flatpicking guitar music. There is a huge list first arrangement is one that includes some
the modern player (he has recently sold of modal old-time tunes that lay out great crosspicking and could be used if you were
sound-ported Dreadnoughts to guitarists on the guitar, but not a lot of flatpickers playing the tune without accompaniment.
Grant Gordy of The David Grisman Quintet seem to be playing them. These tunes are The second arrangement (which is not
and Mike Mickleson of Bearfoot). This not that different from something like Bill included on the audio CD) is more of a
minimally-decorated mahogany Dread is a Cheathum. I think that by learning these contest style arrangement.
veritable cannon, with gobs of volume and types of tunes that a flatpicker can really Matt Arcara has come a long way in
a huge, wide-open tone that will only get expand his or her vocabulary. the ten years since he recorded his first
sweeter with play time. For this model, Matt In order to help readers of our magazine flatpicking CD. As his career continues to
took his inspiration from a friends 1937 expand their vocabulary, I asked Matt to blossom, I predict that we will always hear
Martin D-18. Much like a classic pre-war, play and tab out one of his favorite old great things coming from Matt Arcara and
it is lightly built but powerfully voiced. time tunes. He chose a tune called Greasy Matthew Grant Arcara (MGA) guitars.
Matt uses the best Adirondack spruce and Coat. He has provided a simple version
Honduran mahogany for the tonewoods of the tune so that you can familiarize
and hide glue on all the major joints. This yourself with the melody, and then he has
instrument presents a very unique option to provided a more complex arrangements for
the player looking for a hand-made guitar those who want a bit of a challenge. The
at a competitive price. If you are in the
market for a new guitar, go to a Joy Kills
Sorrow show and ask Matt if you can check
out his guitar or you can visit his website
here, www.mgaguitars.com.

Greasy Coat
When I spoke with Matt during
our podcast interview at Wintergrass he
talked about the music scene in Boston
he mentioned that one of the things that
he loved about being in Boston was the
variety of acoustic music that was played
by the musicians in that area. He said, One
thing that makes Boston amazing is that at
any given jam you can find bluegrass, old
time, Scandinavian, and music from various
other traditions. There is a very open-
minded music culture there. It opened my
ears to a lot of great tunes that made great
9
Flatpicking Guitar Magazine July/August 2011
Audio CD
Tracks 3 & 4
Greasy Coat Arranged by Matt Arcara

Capo 2
Gm F Gm F Gm F Dm Gm Gm

A 
1

 
A

T
H H H
P P
2 3 0 0 2 3 0 0 2 3 0 0 0 0 0 2 3 5
A
S
0 3 0 0 0 3 0 3 0 0 3 0 3 5 5 0 0 0 0
B
3 Dm Gm Dm Gm
F Gm F
A
6 2

 A 


2

S
S 3 1 P
5 7 7 7 0 3 0 0 0 0
 0 0
S S
0 0 0 3 0 0 3 5 5 0 3 5


3

Gm F Gm C
A L
10

 A 


S
3 5 6 6 6 3 6 6 8 8
 0 2 3 5
3
0 0 0 2 3 5
0
0


Gm F Gm F Dm Gm
A L
14

A 
H



S
3 5 6 6
)
3 1


P
0 2 3 5 0 0 3 0 0 S 0
3 0 0 3 0 0 3 5

Gm F Gm F Gm F Dm Gm
A
18

 A 
3



 H H

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

10
3
Flatpicking Guitar Magazine July/August 2011
Greasy Coat (cont)
Gm F Gm Dm Gm

A
22

A 
H



H

S
3 3 3
) 1
S


P
3 0 3 5 5 5 5 3 0 0 0
0 0 0 0 3 0 0 0
S S

Gm
3 5
F Gm C
1 3
)
A H
26

 A
L L L
H



S S
H 1 3 1 1 3
0 0 0 0 S 0 0
0 1
0
3
0 2 2 3 3 3
0 1
0
3
0 2
)
3 5 5 3 3 5
)
3 3

Gm F 3 Gm F Dm Gm

A
30

 A
L L

H

S
H 1 3 1 P
0 0 0 3 0 0 0
0 0 2 2 3 3 0 0 3 0 0 0
0 1 3 S
3
F
3
C
)
1 3

AA
34 Gm
Gm

 L

H 0 0
0 0 0 0 S 0 0
0 3 7 7 8 8 8 0 3 8 8 10 10 10
3 6 3 6
3 Dm Gm
A
38 Gm F Gm F

 A
L

H
S
3 1 P
H 0 0 3 0 0 0
0 0 0 0 3 0 0 0
0 3 7 7 8 8 S

)
3 6 1 3
3
11
Flatpicking Guitar Magazine July/August 2011
(Advanced Arrangement)
Capo 2
Greasy Coat Arranged by Matt Arcara


Gm F Gm F Gm F Dm Gm

A 
1

A
 


H
T
H
P 6 P
2 3 0 0 2 3 0 0 2 3 0 0 0 0
A
S
0 3 0 0 0 8 0 3 0 0 3 0 3 5 5
B
3
Gm F Gm F Dm Gm
A A L
5

 A L
S
3 1 P
0 2 3 4 5 6 7 0 3 0 0 S 0 0
0 0 0 0 0 0 0 0 3 0 0 3 5 5

3
Gm F Gm F Gm F Dm Gm
A A L A
9


A

H H S
P
2 3 0 0 2 3 0 S 0 5 6 7 6 5 3 2 3 0 3
0 3 0 0 0 3 5 5 8 5 5 3 0

3 Gm

L
Gm F F Dm Gm
A
13

 A

S
S 6 8 5 S S
5 6 3 6 8 6 3 1 P
5 2 5 0 3 0 0 S 0 0
3 0 0 3 0 0 3 5 5

L
3

Gm 3 F Gm C
A L L L
17 3

3

 A L L L L

3 3
H H
H H H H
H H 0 1 3 0 H H 0 1 3 0
H H 0 1 3 6 6 H H 0 1 3 8
0 2 3 0 0 0 2 3 0
0 2 3 0 0 2 3 0
3 3
3 3
3 3
12 Flatpicking Guitar Magazine July/August 2011
Greasy Coat (cont)

 L F
Gm Gm F Dm Gm

A
21

 A
3
S rake S
5 6 3 1
8 6 7 8 6 H H S 3 1
7 7 5 S 0 0 0 3 5 5 3 0 0
7 8 0 3 0 3 0 3


Gm F Gm C
A
25

 A

S S S S
1 3 3 3 6 6 6 8 8 8 6 6
0 0 0 0 0 0 0 0
0 0 0 0 0 0 0 0


L
Gm F Gm F Dm Gm

A
29

 A L L

3
rake S
8 5 0 3 1
6 0 S 3 1
5 0 0 0 0 3 5 5 3 0 S 0
7 0 0 0 3 3 5
7 8
3

The Bluegrass Guitar Style of

Charles Sawtelle
In addition to the tablature and standard notation of
27 Sawtelle solos, this book also includes:
A detailed Sawtelle biography, An in-depth interview with Charles, A section on
Charles rhythm style, Charles Sawtelle Discography, The first ever Slade biog-
raphy, Notes on each solo transcription, and Dozens of photographs. A must for
all Sawtelle and Hot Rize fans!
1 (800) 413-8296 CALL
or visit www.flatpickingmercantile.com
to order with Mastercard, Visa, or Discover

Now Available as a digital PDF Download at www.flatpickdigital.com!


13
Flatpicking Guitar Magazine July/August 2011

#
H.O.
Bluegrass Rhythm Guitar
0 1 2
0 2 0
0
by Joe Carr
3

Flatt 5
Jazzgrass featured a strong blend of are now major! The result is an instantly
This time around well look at a experienced jazz players in the lead, recognized, hilarious, but ultimately boring
composition from the fertile and somewhat rhythm guitar, and bass roles and a host of take on this classic.
twisted mind of Austin-based jazz guitarist bluegrass musicians with jazz chops. The But back to the Flatt tune. Flatt 5 is in
Slim Richey. Some may remember Slim list of soloists included Sam Bush, Richard 5/4. The best way to think of 5/4 is a waltz
as the owner of Warehouse Music Sales, Greene, Ricky Skaggs, Bill Keith, Alan measure (3) followed by a measure of two.
a mail order business based in Fort Worth Munde, Dan Huckabee, Gerald Jones, and To count this, say one, two, three, one,
that was one of the first sources of musical Joe Carr. The material included a number of two. In guitar rhythm, it becomes bass,
merchandise offered at substantial discounts jazz standards and a few Richey originals. strum, strum, bass, strum. Although the
off of suggested retail. In the 1970s, Slim During the recording, Slim showed me purpose of this article is to teach you to play
also founded Richey Records that recorded a his idea for a tune based on Lester Flatts rhythm in 5/4, youll also learn a great tune
treasure trove of albums by artists including famous G run. Slim was always presenting in the process. I use my first finger for the
solo projects by Alan Munde, Roland White, his ideas of fun and unusual tunes such as first two notes of the lead in measure one and
Dave Ferguson, Dan Huckabee and Joe his variation on the famous Django tune continue this approach throughout. To jam
Carr, group albums by Country Gazette and Minor Swing. Major Swing features on these changes, use only the first ending.
the Country Store and his own unique blend repeating arpeggios of the opening chords Save the second ending for when you want
of bluegrass and jazz called Jazzgrass. just like Minor Swing except the chords to end the piece.

14 Flatpicking Guitar Magazine July/August 2011


Audio CD Flatt 5 Arranged by Joe Carr
Tracks 5

 
   L L  
 L  
 

T 
A
B
 575
5
353
3
575
5
4 67 8
6 86
6
3 5 6 7 1 3 4 5 3 5 6 7

   
   L  L  L
L
G7 F7 G7 C9

T  3 3 3 1 1 1 3 3 3 4 4 4
A
B
 4
3
4
3
4
3
2
1
2
1
2
1
4
3
4
3
4
3
4
4
3
4
3
4
4
3
3 3 1 1 3 3


   
5

L
 

5 3
5 7 5 5 7 5 5
3 5 6 7 3 5 6 7 5 7 5 5 7 5 8
3 5 6 7 3 5 6 7


   L L

C9 G7

3 3 3 3 3 3 3 3 3 3 3 3
3 3 3 3 3 3 4 4 4 4 4 4
2 2 2 2 2 2 3 3 3 3 3 3
3 3 3 3
3 3 3 3

15
Flatpicking Guitar Magazine July/August 2011
Flatt 5 (cont)


 L   
9 1. 2.



 A
  
1. 2.


57 8 9
797
7
3 5 67
575
5
575
5
575
6  575 4
3 5 6 7 3 5 67 3 5 67

D9 C9 G7 G 7

   
1. 2.

  L L   L

1. G2.7 G 7b5

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

16 Flatpicking Guitar Magazine July/August 2011


Beginners
Gcdgcdgcdgcd Page
by Dan Huckabee
gcdgcdgcdgcd
The Ballad of Jed Clampett Ive chosen to capo to the 4th fret for the
audio portion of this lesson, which puts it
Heres a favorite novelty tune among in the key of E. Most of the details are self
banjo players but maybe less popular among explanatory. It only once jumps out of first WIth Brad Davis
guitar players. That just might be because position, and thats just to match the open Flatpick Jam
it is in G on the banjo, but it really lays out G string for the Earl Scruggs guitar lick
nicely in C on the guitar. Now Ill be the toward the end.
first to admit that its quite a break from I will warn you that it has one fancy
tradition to play it in C, but as you start chord: F diminished. I have hard-panned
trying it, youll find that the key of C sort the audio so that you can isolate either the
of transforms it into somewhat of an Earl lead or rhythm in either the fast or slow
Scruggs guitar piece. All of a sudden it versions which will give you either a jam
becomes a song that you could hear being track or a chance to hear the lead without
played by Doc Watson, Norman Blake, or the clutter.
even Maybelle Carter. Take it slow, pay attention to the down-
Aside from the legal implications of up-down pick directions that are defined by
playing it in C, the tune lends itself to a the eighth notes, and youll get this one up to
really good lesson because its a really good speed in no time. You may find it to be a real
finger trainer as well as a great lesson for attention getter at festivals this summer.
solo design. C is really the guitar key in If you have any questions, give me a call Youll Always Have
bluegrass and that may be why so many of toll free at 800-543-6125. Visit our ad in the
Doc Watsons most memorable solos are back of this issue and check our web site at
A Pickin Buddy
out of C-position. www.musicians-workshop.com. 800-413-8296

Flatpicking Guitar Magazine


DVD-Rom Archives
Twelve Years of Magazine
Nine Years of Audio Companions
on 2 DVD-Rom Discs
The magazine archive DVD-Rom contains the first
73 issues (PDF files), which were published from
November/December 1996 (Volume 1, Number 1)
through November/December 2008 (Volume 13,
Number 1). The audio DVD-Rom contains the audio
companion tracks (in mp3 format) that were released
between September/October 1999 (Volume 3, Number
6) and November/December 2008 (Volume 13,
Number 1).

800-413-8296
17
Flatpicking Guitar Magazine July/August 2011
Audio CD The Ballad of Jed Clampett
Tracks 7-8 Arranged by Dan Huckabee


C Dm G C
Capo 4

1




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

F Fdim G C

6




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


10





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

Tim Stafford
Endless Line
800-413-8296
www.fgmrecords.com
18 Flatpicking Guitar Magazine July/August 2011
K a u f m a n s by Steve Kaufman

Corner
Maid Behind The Bar eighth notes. All do the same thing. They
emphasize the melody a little differently.
Hi friends. This is a tune Ive played for This is a wonderful variation of the theme
many years but it wasnt until I worked it technique. The more of these rhythmic
up for my Acoustic Stomp CD did I make phrasings you know and use the more
a clear arrangement of it. The first part is interesting your play will be.
pretty straight arrangement and fingerings Thats about it for the Maid. Have fun
wise, but the B section is tricky in order to The B section: with this great tune. Be sure to check out
get the real melody in play. This is also a Again watch out for the timings of the my new web site for other downloads and
tune developed and explained more in-depth slurred notes. The triplet pull-offs should fun stuff.
on my Crowd Pleasers and Show Stoppers come off with a snap. Dig under the strings
DVD. with your index and middle fingers and Cheers and Bye for now,
Firstly, be sure to use the fingerings and snap them off. Steve Kaufman
down-up right-hand pick directions as noted Measure 13: Using the fingerings marked, Now on iTunes
and keep that right hand swinging down-up leave the first and third fingers down for the Come to the Gold Award Winning Acoustic
as a pendulum. whole measure and use the fourth finger for Kamps
You will find that the first measure repeats the 1st string note that changes. Old Time and Traditional Week: June 10-16,
in four places and Ive written the measure Measure 14: Use the second and third 2012
with three different timing plays. The first finger as noted. Hold these notes down and Bluegrass Week: June 17-23, 2012
two use hammer-ons from the E to F#, the do a roll with the right hand. This sound like www.flatpik.com
second with the F# as a quarter note and a floatie or cascading run and three notes www.acoustic-kamp.com
the third variation of the measure has tied should ring out.

19
Flatpicking Guitar Magazine July/August 2011
Audio CD
Maid Behind the Bar
Tracks 10 & 11 Arranged by Steve Kaufman

Key of D

  
D


DA7 D Bm Bm


  

1 3 1 3 1 2 1 1 1 2 1 2 3 1 2 1 3 1 3

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

 2 4 4 2 0 2 4 4 4 2 0

A7 D A7 D

D Bm



1 2


3 3


5

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

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

3 3

 

Em
D D 3 Em 3 3

 
9
1 3 2 1 2 1 2 4 2 1 2 1 1 2 1

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


3 3 3

 1
A7 D A7 D

 2
D D Bm



3 3


13

5 7 7 7 5 7 7 0 7 7 0 7 7 0 7 0 2 0 2 3 0 2 4 2 4 2 0 3 0  2 4 2 4 2 0
3 1 3 4 3 1 3 2 3 2 3 2 3 1 1 2 1 3 1 3 1 2


7

3 3
(C) 2011 Steve Kaufman Enterprises Inc 800-FLATPIK See the New www.flatpik.com
20 Flatpicking Guitar Magazine July/August 2011
Taking It To The Next Level:
Opus 7, #1
by John Carlini

Opus 7, #1
The Sooner the Better
Wouldnt it be fun to compose 12
The great classical guitarist Andres studies in 12 keys that would be actual I am happy to say that Opus 7, #1-12 will
Segovia developed a scale system for compositions incorporating similar finger be available soon as a Flatpicking Guitar
the guitar in which he incorporated some shifts? Thats how Opus 7 came to be. Each publication. But I wanted to share one with
incredible shifting techniques for all left study or tude is not only in a different key, you, sothe sooner the better!
hand fingers. Around 2005 or so I thought, but also in a different style. Bebop, swing, By the way: I now play all 12 exercises
Why should classical guitarists have all bluegrass, arpeggios, scales, country swing, every day and find them to be a good
the fun? So, I dove into those scales and and classical are all represented. warm-up!
figured them out for pick style guitar, but The Sooner the Better is the first of Please visit Johns web site (www.
retaining all of the great masters shifting the set of 12. It is definitely a scale-type johncarlini.com) to sign up for the latest
techniques. I practiced them for a long time, exercise, but that scale is adapting to the performance and teaching info and acoustic
a few years, major and minor scales in all chord changes as they occur. Once you music news. John is now giving live one-
keys, 3 octaves traversing the fingerboard. have it memorized I think its fun to play, on-one lessons on guitar and 5-string
I found them to be very helpful especially with the rhythm included in the banjo using Skype technology. More info is
exercisesbut they are, in fact, scales, and audio. available on the web site.
as such, wellyeah. Theyre scales!

21
Flatpicking Guitar Magazine July/August 2011
Audio CD
Tracks 12-14
The Sooner the Better Arranged by John Carlini

C min7(b5)
4
1 3
 B  L
A Maj7

1

 L
1 3 1 3


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

T  7


7 9 10 8 7
4 6 7 9 9 7 6 4
A 4 6 7 7 5
B 5 7
4 5 7

F +7


1 3
1
B min7 3 4

4 1

3

1

 L 2 4
3 1 1 3 1
4 4 3 4
2 1 1
3 1
7 9
7 9 10
6 7 9
4 2 2 4 6 7 9
5 4 2 1 2 4 5
3 2

E7 A9 

B min7(b5)
L L L 
7

 L
1 4 2
L
4 3 1 4 3 1 1 4 1 4 4
3 1
7


10 8
10 9 7
10 9 7 6
8 7 5
8 7 4

2011 Garden Street Music, Inc.

22 Flatpicking Guitar Magazine July/August 2011


Chords for The Sooner The Better
John Carlini
Steve Kaufman
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23
Flatpicking Guitar Magazine July/August 2011
By Brad Davis
Your Love Is Like A Flower

Hello Everyone! Ive been away from the days in my studio recording a CD. That CD, This recording was a lot of fun for me
magazine for a little while due to a very busy titled Doves, Crows, and Buzzards, is now because it gave me the opportunity to
schedule in the studio and on the road. Part available on FGM Records. exchange guitar solos with Tim May, one
of what occupied my time was a tour and One of the tunes that we recorded was of my favorite flatpickers. On the CD
studio recording with my good buddies Tim the old bluegrass standard Your Love Is you can hear Tim and I trade guitar solos
May and Dan Miller. Tim, Dan, and I have Like A Flower. I thought that this would on tunes like Farewell Blues, Dinah,
been performing together for the past seven be a great tune to feature in my column this Nine Pound Hammer, and Angeline the
years and until this year wed never gone issue. On the audio CD that accompanies Baker.
into the studio to record our material. In the magazine you will hear the cut from our I hope that you have fun with my
January of 2011 Tim and Dan were down in recording. On the page that follows Ive arrangement of Your Love Is Like A
Texas for a two week DavisMillerMay transcribed my guitar solo. Flower.
tour and we decided to spend a few extra

July 31st - August 4th

Roots Music on the American River

2011 INSTRUCTORS
Join us for 4 days and nights of an
unforgettable music experience!
Musicians of all ages and levels are
FGM Columnist
KATHY BARWICK & Dobro
JANET BEAZLEY - Banjo
-
Flatpick Guitar

welcome. Our flexible program offers LISA BURNS - Upright Bass


two core classes each day, workshops, TOM CORBETT - Mandolin
fun evening events and one-on-one JOE CRAVEN - Rhythm & Improv
instruction. Camp under the stars on HAWKEYE HERMAN - Blues Guitar
the American River in Coloma, CA MICHELLE KIBA - Ukulele - Hula
KEITH LITTLE - Singing
For more information and to Register DORIAN MICHAEL - Beg. Guitar
visit: http://rivermusiccamp.com KEV RONES - Fingerstyle Guitar
email: rivermusiccamp@gmail.com PHIL SALAZAR - Fiddle
phone: (530) 830-2808 CHRIS STUART - Songwriting

24 Flatpicking Guitar Magazine July/August 2011


Audio CD
Track 15
Your Love is Like A Flower Arranged by Brad Davis

 
G C

 L   L 
1


  L   L L  L

T 0 2 0 2 3
0 2
3
0 3 2 1
3
2 1
30 3 0 0 3 5
5 3
5 3 0 3 2 0
A 0 2 3 3 3 3 0 5
B


G D

 L  L  L L L 


P
S 3 3 P
0 3 4 0 0 P 2 1 0 0 2 S
3 0 3 0 3 2 0 0 3 0 3 4 0 0
3 0 3

C
3 3 3 3 3 3 3 3 3 3
3

G

  L  
10

 L 

3 0 5 0 6 0 5 0 6 0 5 0 6 0 5 0 6 0 7 0 6 0
3 5 5 5 5 5 5 5 5 5 5 5 5

3 3 3 3 3 3 3 3 3 3 3
3

 L
G D G
13


  L 




3
S
P 6 6S P S 3
5 0 3 4 0 0 5 3 4 0 0 3 4 0 0 0 0
5 5 2 0 5 3 0 3 0 0 S 0 2 0 0
1 2

25
Flatpicking Guitar Magazine July/August 2011
Sharpening the Axe
by Jeff Troxel
Clash of the Tartans

My last few columns have dealt with Dorian (E F# G A B C# D), E Aeolian (E F#


solo guitar arrangements played in the upper G A B C D), or even an E blues scale (E G A
positions. This edition will continue that A# B D). Let your ear be the guide.
theme. Id like to present one of my original Although this was written as a duet, Once mastered, this song can make a
tunes, Clash of the Tartans. I wrote this the main part stands well on its own as a nice addition to your repertoire. Try creating
tune as a duet where one player plays the solo piece. The open 1st and 2nd strings some variations on it for an extended
written part while the other improvises help fill in the chordal sound while the solo piece. You can also experiment with
along with it. In that spirit, and given the title melody weaves its way around them. Pay different chords if you prefer to simplify
of the song, a certain amount of dissonance close attention to the fingerings since the the harmony.
is not only inevitable, but expected. timbral effect of upper position fretted notes I hope you enjoy playing Clash of the
The intro and ending on the recording against open notes helps give the song its Tartans. As always, feel free to email me
arent written out, but you can make up character. The slurred notes are also a key with any questions that come up. Good luck,
your own or leave them out. The improvised element in this arrangement. Make sure the and Ill catch you next time.
part is being played by my good friend hammer-ons are clean and even, and avoid
and outstanding fiddler Trevor Krieger, the tendency to rush.
but this arrangement would work with any
instrument playing the improvised part.
The second player could use notes from E

The Guitar Player's Guide to


Developing
Speed, Accuracy, & Tone
by Brad Davis & Dan Miller

Learn How To Improve:


Right and Left Hand Mechanics
Right and Left Hand Efficiency
Volume, Speed, & Tone
Note Accuracy and Clarity
Overall Smoothness and Fluidity

In this new book (with accompanying audio CD), by Brad Davis & Dan Miller, the authors have designed a step-by-
step program that will help you improve your right and left hand mechanics and efficiency, increase your volume and
speed, allow your notes to ring out more accurately with clarity and rich tone, and improve the overall smoothness and
fluidity of your solos. This program is designed to help players of all levels. Even though he is a seasons professional,
Brad Davis uses the exercises that are presented in this book to warm up for all of his shows and studio sessions and
he has taught this method to his private students and workshops attendees (beginner to advanced) with tremendous
results. Available in spiral bound hardcopy or as a digital download.

flatpickingmercantile.com flatpickdigital.com 800-413-8296


26 Flatpicking Guitar Magazine July/August 2011
Audio CD
Clash of the Tartans Arranged by Jeff Troxel
Track 16

Em C D Am

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

0 0 0 0 2 3 0
0 3 5 0 7 8 0 3 5 0 0 1 3 3 0
T 0 5 5 0 2 0
A 2 4 4 0
B

C D Am

1 4 3 1 4 3 1 3
Em


 
1


0 0 0 0 5 5 0


0 3 5 0 7 8 0 3 5 0 1 3 8 0 7 8 0
T 0 7 2 0
A 2 4 4 0
B

3
Em

1
C Bm Em

 4 4 3 2 1 3 4 2

4


3


1 2 1


1


0 5 0 7 5 0 10 12 0 10 12 0 7 10 7 0 0


1 3 8 8 7 0 0 0 0 10 8 0
T 7 7 9
A
B


Em
4 2 1 4 2
C

 1 1 2 1 3
Bm


1 1
4 4


13
1

2 5 0 2 5 0 2 5 3 0 0 10 12 0 10 12 0 7 10 8 7 0
0 0 3 5 0 0 0 10 8 0
T
A
B

27
Flatpicking Guitar Magazine July/August 2011
Clash of the Tartans (cont)

21 3 1 A
Am D Em C Maj7 Am

 3 1 3 2 3 1 3 2H 1  2
4 1 4 2
 )
17

)
0 2 3 0 0 5 7 0 5 7 0 5 6 5 5 0 3

) 
0 1 3 3 0 0 0 8 8
T 5 5 0 2
A 2
B


Bm D Em

 1 2
4
1 4
1 2
2 1


3


21
2 5 2 3 5 2
3 3
T 2 0
A 4 0 2
B
0

Copyright 2011 All Rights Reserved

M a g a z i n e
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28 Flatpicking Guitar Magazine July/August 2011


Nashville Blues
by Kathy Barwick

Hi there! For this issue Im presenting the the chord down, then no matter.
first solo on the first cut of my new recording 4. On beat 3 of M9, keep your middle finger
In My Life (available from the Flatpicking on the A note and shift the index back to the hand on those notes. To think about how
Mercantile at flatpickingmercantile.com). C (2nd string 1st fret). this works, study measures 2-3, 6-7, and
Nashville Blues is a great Earl Scruggs 5. In M10 Im back to the fingering in Fig. 10-11. These two-measure segments are all
tune that, in its simplicity, provides ample 1. melodically the same, but you see there are
opportunity to both play the melody and 6. Play M11 as you did M4, with the index different ways of phrasing it. (This by the
do interesting variations on it. The most finger on the C note. In fact, keep that index way IS the secret of the banjo.... embedding
distinctive feature of this tune is one down all the way through M16. those melody notes into rolls....)
measure late in the tune where you raise 7. In M16 you have 2 fingers down: index
the F natural to an F sharp. Otherwise its on 2nd string 1st fret and middle finger on I hope you enjoy this little excursion into
pretty straightforward, and bears some the 3rd string 2nd fret. The last note in that playing the banjo on the guitar!
resemblance to Reubens Train. measure is a ghost note. I didnt mean
For this column well just look at the to play that F note, but when I slow it way Kathy Barwick has played guitar since
first solo. First off, note that the tune is in down I can hear it. Whats happening there the late 1960s, when she learned folk-style
Dm, and Im playing in drop D tuning. is Im setting up to slide into the F sharp fingerpicking. Kathy also plays banjo
Just lower the 6th string one full step from that happens in the next measure. resophonic guitar and acoustic bass, and
E to D. 8. Use the fingering in Figure 2 for M17. has performed over the years with various
Im going to use some specific fingerings You slide from the F natural to the F sharp bluegrass bands. A founding member of The
for different sections of the solo. See Figure with your ring finger. All Girl Boys, Kathy now plays resophonic
1. Im going to start out with two fingers 9. Play M18-20 holding the index on that guitar with Mountain Laurel, a bluegrass
fretting the 2nd string. Theres a lot of D C note. By the middle of M20 Ive put my band based in the Grass Valley area of
to C going on, and starting with this hand middle finger back on the 3rd string 2nd northern California. Kathy is the guitarist
position will let me focus on the right hand, fret as well. in the Irish band Nine-8ths Irish (www.
which is where all the action is. nine8thsirish.com). A Sacramento resident,
Theres some cool things about this tune. Kathy teaches at music camps and gives
Left-hand fingering notes: Playing the melody out of the chord makes private lessons on guitar, resophonic guitar,
1. As noted, start off in the Fig. 1 position. At your right hand find the melody notes in banjo, and bass, and has just completed her
the end of the first (introductory) measure, the chord. In keeping with my last few first solo recording, In My Life, on the FGM
lift your fourth finger (pinky) off the 3rd fret, columns, this approach allows the right hand label. She welcomes your feedback and/
then put it right back down for the start of to strum or crosspick over the held chord or comments. Contact her at kbarguitar@
M2. This strategy works for measures 2-3, (or partial chord, as in measures 4, 12, etc). yahoo.com or visit on the web at www.
6-7, and 10-11 Since most of the main melody notes are kathybarwick.net.
2. Play M4 with your index on the 2nd string in chords, then you can focus your right
1st fret all the way through. Dont lift your
index off that fret until M8, even if youre
not playing the C note. This lends stability
to your left hand and also ensures that if
you play the B string youll hit a C rather
than a B note.
Figure 1: Figure 2:
1
3. At the start of M8, leave your middle (D chord)
finger on the A note (3rd string 2nd fret) and 2 1
move your index to the E note (4th string
2nd fret). Now technically you dont have 4 2
to do that until M9, but I put it down by the
second beat of M8. This gives my right hand 3
much more leeway to play interesting stuff.
Or, to look at it another way, if it is imprecise
and hits the wrong string, well if Im holding

29
Flatpicking Guitar Magazine July/August 2011
Audio CD
Tracks 17 - 18
Nashville Blues
Drop D Tuning Arranged by Kathy Barwick
Dm


1

 A 




H
P
T 3
2 2 2
1 3 3
2
3
2
1 3
2
1 1
0 2 2
1
2 0 0 2
1
A 0 0 0 0 3 0
B 0
0

A




H
1 3 3 1 3 1 1
2 2 2 (2) 2 2 2 2 2 2 2
0 0 0 0 0 2
0 0 0

Dm


10

A
)


H H

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

H H
D
14

 A ) 

H

H H

1) 2
P
1 1 1 3
) )
0 2 0 0 0 2 0 2 0 0 0 0 2 2 S 2 2 0
3 3 0 3 3 4 4
0
Dm
18

 A )

H H H H

1
0 2 1) 1
0 2
(1) 1 1
0 2
1
0 2 0 0 0 0 2 2 2
3 0 0 0 0
0
30 Flatpicking Guitar Magazine July/August 2011
Palmer is a masterful player in the Chet
Atkins and Merle Travis styles. He can also
Flatpick Profile: flatpick fiddle tunes with a thumb pick.
At the age of five or six, in about 1974,

Reggie Harris
Reggie was given a small guitar as a gift for
participating in his cousins wedding. His
older brother, Mark, ten years his senior,
started showing him chords. Reggie said,
He would show me how to play a chord and
by Dan Miller then Id hold that chord while walking back
to my room and I would practice.
Reggie also recalls laying on the floor
and listening to the older folks play music.
He said, Dad (Charles Harris) was a good
clean and steady rhythm player and a good
singer. He could pick in the style of the
Carter Family. The main thing he would
talk to me about was timing and playing
clearly. Uncle Cecil was a good lead player.
I figured out a lot of stuff on the guitar by
watching and listening.
When he first started playing the guitar
Reggie used a thumb pick. He said,
Someone saw me playing with a thumb
pick one day and told me that I shouldnt be
doing that. So I switch and started playing
with a flatpick when I was about ten years
old. But I still use a thumb pick and bare
fingers occasionally.
Thinking back on his younger days,
Reggie added, Besides what my Dad and
Uncle played, I picked a lot with my cousin
Brent, Cecils son. He showed me some
songs early on. My brother Mark was more
Doc Watson and rock on eight track tapes,
Reggie Harris picking on Wayne Hendersons pre-war Martin D-45 and my older sister, Debbie, listened to rock
and folk rock. My sister had lots of albums
For the past few years Ive heard the name Robert Bowlin had been hanging around the and would swap records sometimes with the
Reggie Harris come up in my conversations booth that afternoon and as I was occupied neighbor girls. Ill never forget when she
with flatpicking guitar players more than a helping a customer I noticed Robert in the brought home a Jimi Hendrix album. She
few times. Every time I talk with a flatpicker background talking with someone. After I had an influenced me that way. My mother,
from North Carolina or the southern part of finished helping that particular customer, Joyce, also played me records before I was
Virginia, inevitably theyll say, Have you Robert walked up with this guy and said, big enough to change a record myself and
heard Reggie Harris? You need to write Dan, this is my friend Reggie Harris. He we listened to the radio.
an article about him! This past April at is a great musician. Finally, the connection As a youngster Reggie was exposed to all
Merlefest I was talking with North Carolina was made! Reggie and I arranged to talk kinds of music and says, Ive always liked
multi-instrumentalist Jim Ashton about his later that week on the phone and prepare an every kind of music. My Dad played country
new banjo CD. Jim handed me a copy and article for the magazine. It is still amazing and hillbilly music, my older brother and
said, I got Reggie Harris to play some to me that after publishing Flatpicking my uncle played about everything. He
guitar on it. I said, You know Reggie Guitar Magazine for fifteen years that guys first learned how to strum chords and play
Harris? How can I get a hold of him? I keep who are as talented as Reggie, and who have rhythm and then he later began picking out
hearing about this guy. Jim said, I think been around as long as he has, keep popping melodies on his own to songs like Tom
that he is going to be here on Sunday. Ill up. It is a wonderful thing! Dooley. Eventually he was also learning
give him a call and ask him to stop by your North Carolina is very rich in roots Bob Dylan tunes and more complex chord
booth. I was looking forward to it. music and Reggie Harris grew up right in the progression to tunes like House of the
By the time Sunday rolled around middle of it in the town of Lenoir. Reggie Rising Sun. By the age of nine or ten he
the possibility of Reggie coming by the said that as a kid he was exposed to piles of was playing at house pickin parties and
booth was in the back of my mind, but I guitar players. Reggies father played the by the age of eleven or twelve he was also
was mostly busy talking with customers. guitar, his older brother played, his cousins playing the banjo. Reggie said, I was
played and Reggie said, My uncle Cecil playing at house parties, picnics, and jam
31
Flatpicking Guitar Magazine July/August 2011
sessions. As I got better people started I basically wanted to get out of playing in Starting in 1989 Reggie spent three
dropping by the house to pick and in eighth bands that played everything note-for-note. seasons playing in a country band at the
grade I was playing in a garage band with a I wanted to be free and I have stayed that Tweetsie Railroad Wild West theme park
few classmates. I was into Lynyrd Skynyrd way ever since. in Blowing Rock, North Carolina. Reggie
big time! After that I was always in some By the time Reggie was 19, and still joined his younger brother Ryan (bass),
kind of rock or blues band. playing with South City, he joined an Alan Johnson (fiddle), and Jason Burleson
In addition to playing in rock bands acoustic trio that called themselves Strictly (banjo). He said, At first it was a country
throughout his high school years, Reggie Clean and Decent. That band consisted of band, but it turned into bluegrass. Around
had also been listening to and explored Reggie on guitar, George Shufflers younger that same time Reggie and his brother also
traditional music. Doc Watson lived brother Ron Shuffler on bass, and Patrick started playing acoustic gigs together.
just about 40 miles away from Reggies Crouch on guitar, banjo, and mandolin. In the early 1990s Reggie made the move
hometown and he would listen to Doc and Recalling those days, Ron Shuffler said, to Nashville with a girlfriend, however, he
Merle Watson records. He said he especially Reggie is one the most versatile guitar only stayed for about a year. Regarding
liked Merles slide guitar playing and to this players that I have ever met and have had the short stay in Nashville, Reggie said, I
day he still plays a lot of slide guitar. the privilege of playing music with. I have enjoy the freedom of doing my own thing
By the time Reggie was in ninth grade known Reggie since he was a kid and to and making money. I was young and not
he had discovered Tony Rice, then David watch his continual growth as a player has much into new country.
Grisman, then Django Reinhardt and Gypsy been interesting, to say the least. We played Although he had spent quite a bit of
jazz. He was also a big Allman Brothers in a trio along with Patrick Crouch from time playing in rock and blues bands when
fan. Reggie said, I was always finding 1988-1990. The group was Strictly, Clean, he was a teenager, as he got older Reggie
something new that would take my playing and Decent and Patrick and I, along with gravitated more towards roots music,
in another direction. He joined his first Patricks wife Kay, are still performing as acoustic blues, and jazz. By the time he was
professional band while he was still in the SCD. I believe Reggie was in his late teens twenty-six he had developed his jazz chops
twelfth grade. He said, These guys were through those years and was absolutely to the extent that his playing caught the ear
ten years my senior, the band was called amazing. We were doing a very wide of fiddle legend Vassar Clements. In 1994
South City and we played country-rock. I range of music from Django, to New Grass Vassar hired Reggie to play on his Vassars
played guitar and banjo. We played a lot of Revival, to pop standards, to traditional Jazz recording. Work on that CD led to
clubs, had lots of equipment, and had our bluegrass, to swingreally no limits. He touring with Vassar off and ontwo to three
own truck. I thought I was on my way! I was playing mostly guitar, although he plays weeks at a timefor years. Reggie also
stayed with one form of this band or another all instruments, and we were all singing. He participated in the recording of a Grateful
for about four years. At one point the name was learning at the speed of light and has Dead tribute titled Deadgrass featuring
changed and we played mostly top 40. I never stopped. In addition to being a true Vassar Clements (1999).
liked it better when it was country-rock. Super Picker, Reggie is one of the nicest The acoustic duo gigs that Reggie
From there I formed a good classic rock guys you will ever meet. I still sit in with started performing with his brother in the
band, but we never played many gigs. We he and his brother Ryan on occasion and early 1990s have turned into his main gig
had a rehearsal building and I was already we always have a blast. Reggie is really for nearly twenty years now. Reggie said,
rehearsing and holding jam sessions for the complete package when it comes to Performing with Ryan in a duo is what I
my next more blues and jam-based project. playing guitar. like best. The duo has a vast repertoire

Flatpick Jam: The Complete Package


On this DVD-Rom disc you will find all of the Flatpick Jam (play-along) tracks for the 48
tunes that appear on all of the Volumes of Brad Davis Flatpick Jam series. Additionally, in
the Flatpick Jam Tabs folder on this disc, you will find a folder for each tune that includes
transcriptions provided by Brad (the numbered transcriptions), plus any arrangement of that
particular tune that has appeared in Flatpicking Guitar Magazine during our first 10 years of
publication. This means that you will get anywhere from 4 to 10 different variations of every
tune tabbed out. Additionally, the audio tracks that are companions to those FGM arrangements
are also included. This is the ultimate Flatpick Jam package and a must have resource for
anyone who wants to build their flatpicking repertoire, learn variations, and study different
arrangements of all of the standard jam session tunes. And you are able to practice all of your
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32 Flatpicking Guitar Magazine July/August 2011


and they draw from traditional roots music, or his 1989 000-16. He said that he likes them to figure things out on their own and
swing, jazz, blues, rock & roll, Appalachian the 000-16 because it is a versatile guitar then I give them hints to help them along
mountain music, and country. The duos good for playing a lot of different styles of the way. There are a couple of people that
instrumentation is an acoustic guitar, a music. Although he owns several Martin I taught when they were kids that are now
bass, and a suitcase (with Reggie sometimes guitars and a number of old Gibson J-35 out making money at it.
switching over to fiddle, banjo, or electric style guitars, Reggie said that in general When I asked Reggie if he would like
guitar). Yes, you did read that correctlya he likes to use mahogany Martin guitars to record something for our audio CD, he
suitcase. Reggie puts a microphone on an when he performs. For this issues audio suggested a standard fiddle tune played out
old suitcase and stomps on a kick drum CD, Reggie recorded Old Joe Clark with of the A position. He said, Sometimes, for
pedal to provide an innovative thump a 1957 D-18 for rhythm and a 1965 D-21 traditional fiddle tunes, I like to pick out of
drum sound in the mix. for lead. straight A. I dont always rely on G or C.
The Harris Brothers are a popular act In addition to performing with is brother, What Reggie sent in was an awesome jazzy
in North Carolina and Virginia and have Reggie also teaches private lesson on banjo, version of the old fiddle standard Old Joe
traveled all over the east coast and mid- fiddle, mandolin, and guitar. He teaches Clark. Listen to the entire cut on the CD
west. They play everywhere from honky students of all ages, from home school kids to get a feel for Reggies talent on the guitar
tonks to music festival stages and they have to senior citizens. Regarding the guitar and then take a look at the tab that Reggie
recorded two CDs. Describing their music, lessons, Reggie said that he mostly teaches supplied so that you can give some of those
their website says, they have a special traditional flatpicking. He starts his new licks a try! And if you ever get a chance
way of making the music their own; its students with a solid foundation in rhythm. to see the Harris Brothers perform, dont
stripped down, intense, and real, with no After they have a good feel for basic rhythm pass it by. Short of that, check them out on
gimmicks. If you want to hear a little of he will then teach them how to add bass YouTube. It is impressive stuff!
the Harris Brothers sound, check out any runs and fills licks into their rhythm playing
one of a dozen of their videos on You Tube. and then transitions them to playing lead.
Reggies picking on the J. J. Cale tune If Most importantly, he likes to get students
Your Ever In Oklahoma is awesome and playing music with another person as soon
their delivery of Rock Salt and Nails is as possible. He said, Ill teach them to
also very impressive. hold the rhythm down with the G and D7
Regarding his approach to the guitar, chords in a song like Cumberland Gap. The Flatpicking
Reggie said, I have always just played Once they get the hang of that Ill pick up Guitar Network
off the cuff. Ive always tried to listen the banjo and have them play along. Now
to something and then play in that style they are playing music!
Meet new flatpicking friends,
without copying. I listen to and play a lot Reggie is primarily a self-taught
of different kinds of music, but Ive never musician and so he encourages his students exchange tunes, share photos
memorized a solo. I leave myself free to to explore music on their own. He said the and videos, ask questions, and
improvise and keep it fresh. things that he likes to teach his students are find new jamming buddies.
Although Reggie has an impressive the short cuts. He said, I like to show Find it all at flatpick.ning.com
collection of guitars, he said that when he my students things that are going to make it
is on stage he usually uses his 1971 D-18 easier for them to learn. I like to encourage

The Essential Clarence White


Bluegrass Guitar Leads
by Roland White & Diane Bouska with Steve Pottier and Matt Flinner
For fans of the legendary Clarence White, this is the ultimate book and CD package. The photo and
biographical information are worth the price of this book alone. Not to mention detailed transcriptions
for 14 Clarence White solos and 2 audio CDs. The best part of this book is the performance notes,
practice suggestions, and examples that are provided with each tune. These detailed notes will help
students understand the techniques that Clarence is using in each song. A lot of work was put into
this project by Roland White, Diane Bouska, Steve Pottier, and Matt Flinner. It is the best Clarence
White resource available!

To Order call 800-413-8296 or visit:


www.flatpickingmercantile.com
33
Flatpicking Guitar Magazine July/August 2011
Audio CD
Track 19
Old Joe Clark
Arranged by Reginald Harris

 
Intro


1

  L 

T
H
14 14 14 14 14 14 14 6 7
A
S
11 11 11 11 10 11 11 11 11
B 12 12 12 12 12 12 12

 L L 
A E



H
0 H 0 S 0
5 5 7 8 8 7 5 7 5 0 5 5 7 8 8 9
7 7 6 6 7 7 6 7

0 0

 L
A E A

0 H
5 5 7 8 8 7 5 7 5 0 0 0 0 0 5
7 7 6 6 6 6 6 7
7 7 7 6 7 7


 L L
 
A E


13

0 H 0 S 0 12 12 H
5 5 7 8 8 7 5 7 5 0 5 5 7 8 8 9 12 12
7 7 6 6 7 7 6 7

 L
A E A

17

0
5 5 7 8 8 7 5 7 5 0 0 0 0 0 5 0
34
7 7 6 6 6 6 6
7 7 7 Guitar
Flatpicking 6 7
Magazine 7
July/August 2011
Old Joe Clark (cont)
 
A G A


21

  L

 0
H 0
7
5
7
0
0 0
H 0 P
0 0 0 3 3 0 0
H 0
7
5
7
 7
6 7 7 6
7
6 7 7 6
7
6
5
4
5
6
7
6 7

A A


E



26 1 2

 


1 2
0 H
0 0 0 0 0 0 5 0  5
H
7 6
7 7
6
7
6
7 6 7
6
7
6
 7
6
7
6 7

Flatpicking Essentials
Volume 4:
Understanding the Fingerboard
& Moving Up The Neck
The fourth book in the Flatpicking Essentials
series teaches you how to become familiar with
using the entire fingerboard of the guitar and
it gives you many exercises and examples that
will help you become very comfortable playing
up-the-neck.
With this book and CD you will learn
how to explore the whole guitar neck using
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35
Flatpicking Guitar Magazine July/August 2011
THE
O - ZONE
by Orrin Star
Fishers Hornpipe

Fishers is a fiddle tune in D popular in notes, Fishers lends itself to solo playing Likewise, playing the F notes in the A-part
both traditional American and Irish music. in a way that many other tunes do not. with your pinky instead of with your ring
One thing I like about it is that it sounds While the A-parts in this arrangement are (while holding the C bass note with said
good played at a variety of speeds, from mostly the same, I vary things considerably ring) also yields a nice modal tinge.
rollicking (at contradances, where I play it in the B-parts, moving up the neck some and
on mandolin or tenor banjo) to more lyrical deploying some floating licks the second Orrin Star (www.orrinstar.com) is an
(as in this arrangement). time around. award-winning guitar, banjo & mandolin
But achieving lyricism doesnt happen One important feature of this arrangement player based in the Washington, DC area.
automatically: it requires right-hand finesse is the decision to play certain B notes on the The 1976 National Flatpicking Champion,
and playing with dynamics. (In particular, 4th fret of the G string instead of on the open he has toured and recorded widely, is the
by accenting key melody notes and making B string. This is a guitar-specific dynamic author of Hot Licks for Bluegrass Guitar,
judicious use of hammer-ons and pull- choice that all flatpickers should be aware of and performs mostly solo and duo. He offers
offs you end up with a nicer-sounding (since they sound very different) and which private music instruction both in person
rendition than one with an unremitting many an arrangement can profit from. and online.
cascade of tick-a tick-aone of the banes The last thing to note is that you can
of flatpicking.) alter the flavor of certain phrases by letting
On guitar I like to play this tune in C certain notes linger. For example, if you let
(capoed at the second fret) since the A-part the F note in measure 15 ring while you
flows so organically there. Also, since the work your way up to the C on the 2nd string,
A-part entails both crosspicking and bass that gives the phrase a nicely dark flavor.

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What The Tab Wont Tell You
A comprehensive introduction to bluegrass lead guitar playing by one of Americas top flatpicking
teachers, this video brings to light vital, yet often overlooked, subtleties that are at the heart of this
exciting stylethose things that the tablature wont tell you. Among them:
how to think like a fiddler and get the dance pulse into your playing
the central role of strums in lead playing (as applied to Carter-style and Blake-style)
right hand fundamentals like: how to properly alternate your pick, how to modify
your right hand technique when strumming, performing double-stops, and rest strokes
the role of double-stops and harmonized leads
using lyrics & singing styles to guide your solos
Starting with a simple scale and then progressing through eight cool arrangements of classic tunes,
this 2-hour video doesnt just spoon feed you solosit provides a systematic guide to the thinking
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36 Flatpicking Guitar Magazine July/August 2011


Audio CD
Tracks 21 & 22 Fishers Hornpipe Arranged by Orrin Star

Capo 2
C F C F C F C G


1

 

T 0  1
P P P
0
A 2
 0
2
0
3
2 0
3 2 2
0
3
2 0
3 2 2
0
3
2 0
3 2 0 2 0
2

B 3 3 3

C F C F C G C 3


6

 

1
P P
0 1
0
3 0 1
H
0 
0
2
0
3
2 0
3 2
3
2
0
3
2 0
3 2 3
0 2 4 0 2 0 2

3


C G C G C G

10 2

2 P
H 0 1 0 0 0 1 3 0 0 1 0
0 0 1 3 0 1 0 1 3 0 3 3 1 1 3 0 3
0 2 0 2 0 4 0 0 4
2 3

D G F C F G


15

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


C G C G


19



H
S 3 0
1 0 1 3 3 5 6 3 5 5 6 5 3 3 5 6
2 0 4 0 4 5 0 5 4 0 4
2
3

37
Flatpicking Guitar Magazine July/August 2011
Fishers Hornpipe (cont)
D G F C F G C


23

 

S
H
3 0 0 1 S 1 3 1
5 2 0 0 0 2 0 0 2 2 0 2 0 0 1 2 2 4 0 4 2 0
3 3 2 3 2
3

Davis - Miller - May


The long awaited CD from Brad Davis, Dan Miller & Tim May
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Music Theory For


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38 Flatpicking Guitar Magazine July/August 2011


Chinatown, My Chinatown

by Dix Bruce

Whether you are a long-time reader or video I work with the melody and soloing
casual browser of this column, you probably on the song Whispering from my Gypsy
know that I have certain set ways of Swing & Hot Club Rhythm, Volume I book/ element of his style. Just about every jazz
approaching new songs. In many columns, CD set. guitar player slips them in from time to time
I have urged you to develop similar routines The first thing I usually do is learn and most of the more modern flatpickers use
to get yourself inside of a song, to learn the melody in a closed position with no octaves also.
it backwards and forwards in order to open strings. Once I can play a melody in Before we get into playing octaves on the
understand it. Its not important that you closed position, I can fairly easily move old standard Chinatown, My Chinatown,
do the exact things that I do but you should it to any other key. And, if I work out a lets work through the first two points I made
have a plan that leads you to work through a solo/improvisation in a closed position I above and get acquainted with the chord
song and learn what its all about. The goal, can move that to any key too. Aint music progression and melody of the song. This
of course, is to play it better than you would amazing? version of Chinatown, My Chinatown is
without this knowledge. Once I have the closed position melody from my Gypsy Swing & Hot Club Rhythm,
The first thing I do when learning a new worked out, I try to move it up or down an Volume II book/CD set. The chords are
song is to look at the chord progression. I try octave. Doing that opens up a whole range shown below.
to locate familiar chord patterns, unfamiliar of playing possibilities for me. Lets say I Next learn the melody, shown on page
chords, or unusual combinations of chords. use the melody, with or without open strings, 41 in a closed position. Try to memorize
I look for the logic of the chord progression as my first solo. My second solo could be it. Being able to hear the melody in your
and try to determine the way it unwinds. virtually the same melody moved up or head will be a great help as you attempt
Next I learn the melody. The melody is down an octave. I could change it a little, the octaves.
the song. After all, nobody hums or whistles just to keep things interesting, or I could Theres a technique to playing melodies
a chord progression! If you dont know the change it a lot and create a third solo. in octaves on the guitar. Once you learn
melody, you cant play the song. Yes, you As I work with the melody I try to analyze the basics you can play octaves on any
can play the chords but you really need to how it moves phrase-by-phrase, similar lead. Well play octaves on string pairs 1
know the melody in order to play leads. to what I did with the chord progression. and 3, 2 and 4, 3 and 5, and 4 and 6. For
Even if you play a solo thats far removed If the original phrase ascends Ill try to string pairs 1 and 3 and 2 and 4, well use
from that melody it still should be rooted reverse it and play something comparable our first and fourth fretting fingers. For the
in the melody. Otherwise your solo has no rhythmically that descends, and vice other octave pairs on strings 3 and 5, and 4
context. It could be an improvisation on versa. This can be a great motivator for
any song. improvisation as it leads you to discover
Once I have the chord progression and the phrases that fit rhythmically with the melody
melody learned, Im in pretty good shape to but are different melodically. WIth Brad Davis
play the song at least one way. As soon If the tune allows it, Ill try converting the
as I can play the chords and melody, I want melody to a chord melody where I strum the
Flatpick Jam
to expand on both and add other ways of chord and simultaneously play the melody
playing them. Im eager to come up with note on strings one or two. Jazz guitarists
as many variations as I can. As far as the use the chord melody technique extensively
chord progression goes, Ill try playing and it can be challenging to play. Still, it
other inversions of the same chords further sounds wonderful and adding a few chord
up and down the fingerboard. If Im playing melody passages to your repertoire allows
the type of song or style that would allow it, you to throw a bit in here and there as youre
I might look for extensions or substitutions compiling an improvisation.
to the chords. Another technique I try out on new
To get myself deeper into the melody, songs, and this will be the main subject
solos, and improvising, I work through a of our column, is to play the melody in
few exercises that never fail to teach me octaves. Playing the melody in octaves is
new things about a song. Over the years Ive different from moving a melody up or down
taken you through some of those exercises an octave. Here well play two notes an Youll Always Have
in this column. I demonstrate several of octave apart on every melody note. Django A Pickin Buddy
them in a YouTube video (www.youtube. Reinhardt often used octaves in his solos.
com/watch?v=eKxxPTmVH3s). In the Wes Montgomery made octaves a defining 800-413-8296
39
Flatpicking Guitar Magazine July/August 2011
and 6 well use our first and third fretting set, you can practice slow and up-to-speed Bass Edition will be in print. It includes
fingers. As you look at your fingers on the octaves, melodies, chords, solos, and more bass lines, step-by-step instruction on how
fingerboard ((see diagram below) see that to your hearts content while backed up by to compose them, and info on transposing
when we play an octave on strings 1 and a Hot Club-style band. In fact, well jam any song to any key! Email Dix at: contact@
3 or 2 and 4 with fretting fingers one and all night long! musixnow.com.
four, we have two open and unfretted frets After youve mastered the octaves version
between the lower and higher notes. When
we play an octave on strings 3 and 5 or 4
of Chinatown, My Chinatown, try moving
the closed single note melody to other keys. Tim May
and 6 with fretting fingers one and three, Make sure you identify what key youve
we have only one open and unfretted fret transposed to each time. Can you move
between the lower and higher notes. Making the closed position melody up or down an
those visual connections will help keep your octave in the same key? Good luck!
octave locations correct. Fretting fingers Be sure to check out the Musix
suggestions are shown in the music between Newsletters section of my website (www.
the standard notation and tablature staves. musixnow.com). Lots of free TAB and
As always, take things slowly until youve MP3s to download and learn.
taught your brain and fingers how to work
together. (Im still working on this every Dixs latest book/CD sets: Gypsy Swing
day!) Then gradually build up the speed. & Hot Club Rhythm Vol. I & II (separate
Youll hear excerpts from the slow and editions for guitar & mandolin) Christmas
up-to-speed band versions of Chinatown, Favorites for Solo Guitar: Best Loved
My Chinatown from Gypsy Swing & Hot
Club Rhythm, Volume II on the FGM CD.
Traditional Songs for Bluegrass Guitar.
By the time you read this the latest version
Find My Way Back
With the full versions from the book/CD of The Parking Lot Pickers Songbook, www.fgmrecords.com

Chinatown, My Chinatown accompaniment chords

1 1 2 3 1 1 1 T 1 1 1 2 3
2 4 2 2 2 4
3 34 3 4 3 4 34 34

from
FGM Records

Flatpicking Left: Octave shown on strings


1 and 3, fretted with fingers

Bluegrass one and four. Note unused


muted string and two open
frets between two fretted
notes. Right: Octave shown
on strings 3 and 5, fretted with
fingers one and three. Note
unused muted string and one
1
open fret between two fretted
notes.

Two open
frets.
4 1
One open
fret.
800-413-8296 3

fgmrecords.com
40 Flatpicking Guitar Magazine July/August 2011
Audio CD
Track 24
Chinatown, My Chinatown
William Jerome and Jean Schwartz
1910 P. D.


C6

Chi - na - town, my Chi - na - town, Where the lights are
4 2 3 4 1 3 4 1 3 4 1

T 3
A 5 4
5
2 4
5 5
2 4
5
2

B
7
G7 Am

low, Hearts that know no oth - er land,
2 1 4 4 1 4 1 2

3 3 2 5 2 2
5 5 3 3



13
D7 G7 C6

Drift - ing to and fro, Dream - y dream - y
3 1 2 3 1

3 3
4 2 4 2 2 5 4
5

C7
F


19


Chi - na - town, Al - mond eyes of brown, Hearts seem
4 4 2

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

H D7

Fm C6 A7 G7 C6

26


light and life seems bright, In dream - y Chi - na - town.

3
5 2 4  2 5 2 5
3
5 5
)
5 5

From Gypsy Swing & Hot Club Rhythm, Vol. II by Dix Bruce
Arrangement copyright 2008 by Dix Bruce (BMI) www.musixnow.com

41
Flatpicking Guitar Magazine July/August 2011
Audio CD
Track 25 & 26
Chinatown, My Chinatown
Arranged by Dix Bruce


William Jerome and Jean Schwartz

Octaves solo

1910 P. D.

 

C6

4
1
8 10 7 7
T 8 10 12 8 8 10 8 10
A 5 7 4
5 7 9 5 5 7
4
5 7
B


7 G7 Am

3 4 3
1 1 1

8
10 10 9 7 9 7 9
5 10 10
8 8 7 5 7 5 7
8 8

D7
C6

G7


13


4
1
7 10 8 10 7
10 12 10 10 8
4 7 5 7 4
7 9 7 7 5



C7

F


19


8 12 10 10 10 12
10 12 8 8 10 8
5 9 7 7 7 9
7 9 7 5
10 10



Fm C6 A7 D7 G7 C6

26

 
)


10 8 8 8 10 8 8
10 12 8 8 10 10
5 5 7 5 5

)
12 10 7 9 5 5 7 7

From Gypsy Swing & Hot Club Rhythm, Vol. II by Dix Bruce
Arrangement copyright 2008 by Dix Bruce (BMI) www.musixnow.com
42 Flatpicking Guitar Magazine July/August 2011
Music Theory:
Mastering the Fingerboard
Technical Studies for Flatpickers

by Michel A. Maddux

Practical Applications Technique vs. Music


Theoretically Speaking Regular readers may recall that I have
fingerboard. On a slower song I might
said that the reason to practice scales is to
choose to play just the melody notes and
Lets spend a few minutes together forget about them. By that I mean that the
brush a chord between them in a manner
thinking about why we study theory and intention is to get so comfortable with the
similar to Maybelle Carters classic version
what makes it useful. I expect that you scales and patterns that you completely
of Wildwood Flower. On a faster song, I
already know a bit of theory. For example, forget about the technique of playing, and
might play a scale pattern or run up to the
when you learned a new song like the great instead focus solely on the sounds that you
melody note, then emphasize that note with
bluegrass standard Blue Ridge Cabin want to hear coming from the guitar.
an accent. In either case the goal is always
Home, someone might have said, capo A second reason is speed. To gain speed
to reflect the melody.
3, then play I-IV-V-I. on the guitar you have to play perfectly
Did you understand what that meant? It at slower tempos. When you can do that,
Dont Think Twice
means to play the root, the I chord, which you can then increase the tempo, that is,
This time I want you to study a way of
on capo 3 would be a Bb major chord played the velocity of the song to a comfortable
playing fills and runs behind a melody. The
out of the open G position, then play the IV performance level.
melody is the great Bob Dylan tune Dont
chord, an Eb chord, but played from the C Even the simple scale forms should
Think Twice, Its Alright. As you play
first position shape, then play the V chord, sound like music. Play them with good
through the song, try to accent the melody
which is an F chord, but played using the D tone, with a clean touch, and perfectly in
note. That makes the solo sound even more
first position shape. time with the metronome. Do not forget to
interesting, as the fills and the runs up to the
You knew what to do for the song. Thats accent the first of each group of four notes
melody provide spice for the ear without
a good and practical application of why we while you are playing, because that is what
distracting from the melody notes.
study theory. It helps us learn new songs gives the music life. Practice at different
I want you to think of as many ways to
quickly, think about new ways of playing dynamic levels as well. You should be able
vary the melody that you can. Take these
using chord substitutions, and learn which to play fast at a loud volume, and also at a
ideas as a jumping off point, and make the
notes fit in a song and which notes do not very soft level.
song your own.
fit. When you are improvising you want
to hear the melody in your mind and find
Have fun, and keep on pickin!
the notes that reflect the melody on the

43
Flatpicking Guitar Magazine July/August 2011
Audio CD
Track 28
Working With Melody Exercise
Arranged by Mike Maddux
(melody)
G D Em C


1

 




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

G D G D Em


7

 U



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


A D G

14

  U



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

C A G


21

 


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


D Em C G D G


27





0 0 3
3 3 3 0 1 0
0 0 4 4 2 0 0 0
2 2 0
3 2
3
44 Flatpicking Guitar Magazine July/August 2011
Audio CD
Tracks 29 & 30
Embellishing the Melody
Arranged by Mike Maddux

G

D
Em


33

   L


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


C G D

H
37

   H


3 2

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

)
3 2 3 0
3
G D Em

H
41

  





0 0

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

H  
A D



45



)

2 0 0 2 2 2

)
0 0 3 3 3 3 3 3

)
2 2 2 2 2 2 2 2 2 2
2 2 2 2
0 0 0 0


49

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

45
Flatpicking Guitar Magazine July/August 2011
Embellishing the Melody (cont)


C A


53

  

3 3 3 3 5 7 5 7 5
3 3 3 3 3 5 5 5 5 5
5 5 5 5 5 4 6 6 6 6 6

G D Em

H
57

 


0

) 2
0 0 3 3 0 0 0
0 2 3 0 2 0 0
0 2 0 2
0 1 2 2 0 2
0
C D G
61

 U

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

Flatpicking Guitar Magazine


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46 Flatpicking Guitar Magazine July/August 2011


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Flatpicking Guitar Magazine July/August 2011
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48 Flatpicking Guitar Magazine July/August 2011


Bill Bay Presents

Flatpicking Solos
My Irish Home

I love Celtic music. I am especially fond


of the wonderful Irish ballads and Scottish
airs. My Irish Home is an original solo I
composed in the style of an Irish ballad. It
is in the key of D with dropped D tuning. (I
love the resonance the guitar gets when you
lower the 6th string down a whole step!) It
should be played with a maximum of feeling
and expression. I recorded this on a 7-string
flattop guitar with the 7th string tuned to a
low A, one octave lower than the 5th string.
Alternate notes to the low A pedal tones are
found in the tab part.

Become A Better
Rhythm Player.
Take Orrin Stars
Workshop
In The Comfort of
Your Home.
Call 800-413-8296
to Order

49
Flatpicking Guitar Magazine July/August 2011
Audio CD
Track 32
My Irish Home Written by Bill Bay

 
 )  P H P
Drop D Tuning


1 P

 


P

 2) 21 0 3 S
P

T 3  P H
3 2
5

A 2
1 ) 4 01 2 4 2 0 0 2
4 0 2 2 0 0 2

B 0 0 4
1
0 0 0

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6 P

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P




P
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P

3 1
2 2 0
3 0
H P H
3 23
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0
0
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0
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4 1 2
4 2
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0 5 0 0 0 0



10
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  3



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7 5 
5 
2 5 10 9 7 2 5 9 12
6 
P
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0  1
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0 0 0 0

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14


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7 5 
3

5  )
2 5 10 9 7 3 2 3 5 2 0 2 32 0
6 
3 3 7 10 10 8 8 3 3 7 3 3 3 3 3

)
2 2 7 11 9 7 2 4 7 2 0 2 2 2 2
4 0 0 0 0 0 2 2 5 5 4
) 0
0 0 0 0 0 0
0 0
3

50 Flatpicking Guitar Magazine July/August 2011


My Irish Home (cont)

H


18 P



 ) 
H

P


P

)1
2 2 0 2 3 5 5
3 3
4 0
3
4 2 0
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22 

 



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5
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11 9 7 6
5
5
6
9
10
6 9
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4 4 4 2 5 4 5 4 9 7 5 2
0 0 5 0 0 0 0 0 0 0 0
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26


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P

5 2 9 5 2 3 2 7 5 5
2 2 0 2 2 5 3 2 3 5 8 2 0 7
4 0 6 4 4 2 2 0 2 4 6
4 0 4 4 4 0 4 2 5 4
0 0 0 4 0 0 0

) )
0 5 0 0 0 0 0

 H H P

30



) 


P L 
 01 2) 2) 0
H P

3 3 0
0 2 
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3 2
5

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

51
Flatpicking Guitar Magazine July/August 2011
My Irish Home (cont)


 
 ) P
34

 



5 
 3 P
P S

5  )
2 0 7 3 0 2 10 9 5
6 
3 2 3 7 3 7 3
4 
6 2 7 4 7 7 2 2 0 2 2
0 
4 4 5 2 0 4 2 0
0 0 0 0 0 4
0 0 0 0 0 0 0




38 P




P P

3
3
P
H P H P
7 3 1
2 0
3 0
H P
3
2
5
7 5 12
8 10 8 7 7 87
0
0 1
0 0 2
0 1
2 0
4
2 7
5
9
0 0 0 0 0 0
0 5 0 0 3 0
3


3
42
 H
 P 
U
3 U
HS
H P
H P 5
2 3 2
4 0 2 0
P

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

New Standards for Flatpicking Guitar


Original Flatpicking Guitar Tunes Performed in Duo
by Many of Todays Top Pickers
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52 Flatpicking Guitar Magazine July/August 2011


&G@F );#9FFK
!;D=;LA; ;GMKLA;
Tando Derrane

The recent duo album Grove Lane hit the record button on my laptop!
(Compass Records) that I recorded with I cant claim much pre-planning in terms
my friend, National Heritage Fellow- of what I would do, so in every way the
ship winner and Irish button accordionist rhythm performance is an improvisation - #1 Irish Traditional Album of 2010 in The
extraordinaire Joe Derrane, won Traditional much the way that bluegrass backing would Irish Echo. His DVDs Rhythm Tune Up
Irish Recording of the Year in 2010 (Irish be: you know the chords you are going to and Rhythm Mandolin and his books Sound
Echo Magazine). Joe is one of my favorite play (if not the specific voicings), but your Fundamentals and Developing Melodic
people and musicians on the planet. The right hand patterns will probably vary from Variations on Fiddle Tunes are receiving
album was recorded in 2009, when Joe verse to chorus, etc. The transcription here great accolades. Johns first solo album
was an even younger man! At age 79. Joe is just the introduction, which is as long as Upslide has been recently re-released
continues to write wonderful tunes as well most fiddle tunes at sixteen bars. Note the and is available through Amazon.com
as play traditional material, and our CD first voicing combines open E and B strings and CDBaby.com, as well as Johns own
features seven of Joes originals, including with three fingered strings, giving a unique website. There are also two transcription
this months pick, Tango Derrane. Joe sonority. The C79 is a typical extended folios available for Upslide, in guitar and
is always pushing the limits of the button chord that appears in jazz and other kinds mandolin editions. You can check out his
accordion, and his take on the traditional of world music. I use my thumb to get the custom transcription service, in which you
Argentine dance form of tango is typically low G note in that voicing. My instinct was can have any music of your choice notated,
fantastic. Id like to share with you some to provide as much low end as possible to at the above web address. Drop by the web-
insights as to how I approached playing supplement the dark mood and mysterious site for more bio info, and lots of great free
on this track. vibe of this section. For some measures, I technique tips for flatpickers.
Joe provided me with a lead sheet have just written the basic voicing, rather
which was three pages long. He notated than notating all the rhythms, which means
the melody and wrote in suggest chord listen to the recording! Learn the tunes and solos of
symbols, which I was free to interpret in my Over the next few issues, Ill present more your choice,in any format.
own way. Since Joe is a well rounded musi- sections of this great piece, to share some
cian, he was able to conceive of the actual ideas about different rhythms and ways to At your own speed!
chord changes to go with the melody - not extend your chordal vocabulary.
always the case among Irish musicians. The Original Custom
We ran through the tune a few times, as the John McGann (www.johnmcgann.com) Transcription Service
form was a bit long and unusual, and then is a Professor at Berklee College of Music.
rolled tape. I was also the engineer on the His new duo CD Grove Lane with Irish All styles and instruments:
recording, which meant I leaned over and accordion legend Joe Derrane was voted flatpicking, fingerstyle, fiddle tunes,
bluegrass, swing, jazz

MarvsMusic.com
I can also create custom
arrangements.
Private lessons available via
cassette, custom tailored to your
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improvisation, rhythm styles,
For all your music supplies! repertoire
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Tab and/or standard notation.
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over $100 John McGann
P.O. Box 230267
1-800-811-3454 Boston, Ma.. 02123

53
Flatpicking Guitar Magazine July/August 2011
Audio CD
Track 33
Tando Derrane
Arranged by John McGann

E m7 C 79 B7 E m7

   H  H  H


   H  A UU
UU  UUU
U  
U
   
T
0
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0 0 3 0 0 0
r A 7 7 7 7 3 2 7 7 7 7

) ) ) )
5 5 5 5 2 1 5 5 5 5
B 7 7
7
7 7
7
3
3
2 7 7
7
7 7
7

C 79 B5 E m7 C 79

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A L A UU
7

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U U A A
7
 
0
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3 3 0 0 3
3 3 4 7 7 7 7 3

) )
2 2 4 5 5 5 5 2
3 3 2 7 7 7 7 3 2 3 2 1 0
3 3 2 7 7 3 3 2 2


E5 C 79 B 7sus 4

 H H A UUU A
13

  
UU
 
13

 
7
3 3 7

 
3 3 9
2 2 2 2 2 2 2 2 7

) )
2 2 2 2 2 2 2 3 3 9
0 0 0 0 3 0 0 0 3 3 7

Maro Kawabata: Sunset Drive


Fantastic Guitar Work from
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54 Flatpicking Guitar Magazine July/August 2011


Bluegrass Guitar
by Steve Pottier

I Wonder Where You Are the down-ups right, and try to make each
Tonight note last into the next. The roll right
after the first melody note could be just
Around this neck of the highway, a hammer-on, but again, this gives it
most bluegrass jams and picking parties a slightly different texture, a different
are 90% songs (vocals) and 10% tunes. sound to hit the ear. The second measure
If you are a bluegrass guitar player, it of C uses a Clarence White-style lick
makes sense to put a lot of your time going into the F chord. This is followed
into working out breaks to songs, which by a slide and a bunch of the same notes.
are a whole different mind set than I used to think playing the same note
fiddle tunes. Im not saying give up on twice (or more) in a row was illegal, or
fiddle tunes! They are a lot of fun as at least a sign of not playing well. Now
well as useful for building chops. But I think of lots of occasions to use the
you should also think about making same note twice or more in a row! Either
up breaks to songs if you want to play Ive decided that it can be powerful,
some leads in all those vocal-oriented or my playing has slipped... This goes
jams. A good thing to do would be to into a G run, broken up rhythmically
list a bunch of songs that seemed to to disguise it. The double-stop walk-
be played a lot in your area. Pick out a down is something Doc Watson might
few that are medium tempo where the do. Those double-stops give you a lot
guitar has a chance to play tunefully and of power, always useful to the lowly
tonefully and try to come up with some guitar player.
interesting breaks for those. Expand On the repeat of the melody, I decided
your repertoire as you have success with to change octaves, using a scale run to
the ones youve already worked up. wind up with the melody fragment on
Here is a break to a bluegrass warhorse, the F chord. Finally the G section is a
I Wonder Where You Are Tonight. Its crosspicking variation of a common G
been done by lots of bluegrass bands, but to C lick. Im thinking mostly of the first
for me, the memorable version is Vern string notes as it runs down the scale to
and Ray with Herb Pederson. Ray sings the final C.
lead, then Vern comes in the chorus with Now I guess Ill try to work something
Herb singing high baritone. Holy cow! out for the key of G....
Im getting chills just thinking about
that!! Anyway, its a good melody and
tempo for the guitar. I would do it out of
F, hence the arrangement in C position.
As with most breaks to vocals, it is good Mark Cosgrove:
to figure out where a lead would be in
a complementary key (G) just in case. Unencumbered
I generally dont like to capo above the
5th fret.
As for the break itself, Im using a
FGM Records
rather long lead-in. You could choose to
do a standard 3-note walk up (E-F-F#),
but I wanted something a little smoother
and different. Start on an upstroke to get
55
Flatpicking Guitar Magazine July/August 2011
Audio CD
Tracks 34 & 35
I Wonder Where You Are Tonight
Arranged by Steve Pottier


G C C


1

 H



3 3 3 3 0 0
T 3
0 0
3
0
3
0 0
3
0
1
0
1
0
H
0 0 2
A 0 2 3 2
B 3 0 2 3

)
3 3 3 3

F G

H   L L
6

  L H
 

S

0
H
0
P
 0
2 3
3 4
2
3
1
2

)
1 2 1 0 0 0 2
3 3 0 S 0 1 2

)
3 5 5 5 5 5 5 5 (5) 0 2 3


C C F

11

S
0 0 0 0 0 0 1 3 1 0 S 1 1 1 1
1 1 1 1 1 1 H 0 1 3 3 4 3 1 1 1 1 1
0 0 0 0 0 0 0 0 2 2 2 2 2 2
2 2 3
3


G C



16

 
)


S
1 1 3 3 1 0 0 0 0

)3
1 1 S 0 0 0 3 1 1 1 1
2 2 4 4 4 2 2 0 2 0 0 0 0
3 2

56 Flatpicking Guitar Magazine July/August 2011


CD Highlight
Jonathan Maness: Mountain Soul
by Dan Miller

Jonathan Maness is one of those guys who In addition to studying classical


Ive been wanting to feature in Flatpicking guitar at Appalachian State, Jonathan
Guitar Magazine for some time now. I also started participating in local jam
first became aware of Jonathans guitar sessions around Boone, North Carolina, and
skills three or four years ago when he was joined a local jam grass band called the
performing with the Dixie Bee-Liners. That Pickadelics. Alumnus of this band include
is when his name first went on my list. Now Mark Schimick (Larry Keel) and Darrell
Jonathan is working with Mountain Soul, a Muller (Old School Freight Train). The
very tight band with strong vocal harmonies band played extensively at private parties
out of Knoxville, Tennessee. The band and the western North Carolina clubs that
has just released a new self-titled album are still very supportive of the larger roots
featuring Jonathan on guitar and vocals. music scene.
While the initial tracking session was done In 1998 Jonathan started working
at Scott Vestals Digital Underground in summers at Tweetsie Railroad, a western
Nashville, Jonathan engineered all the to develop his fingerstyle technique as theme amusement park in Blowing Rock,
mandolin, guitar, lap steel, and vocal well. By the time he returned home to the North Carolina. The seasons of 98 and
overdubs at his studio in Knoxville, and United States in 1994 he also had started 99 were spent as an actor in the western
is releasing the record on his own record to explore Merle Travis and Chet Atkins shows that were seen on the parks train ride.
label, Anteflow Records, Inc. Additionally, material. He said, When I was in high Jonathan also shared the stage as a guest
Jonathan will also be releasing a solo album school I was playing about half fingerstyle singer and guitarist with musicians of the
sometime this summer. With all of this and half flatpicking. caliber of Darrin Aldridge, and Jason and
exciting musical activity going on in his Jonathan attended high school in New Charlie Burleson. In 1999, three members
life, I felt like the time was right to finally Bern, North Carolina. In school he played of Tweetsies cast, including Jonathan,
give Jonathan some print in Flatpicking trumpet in the marching band and guitar shared the stage with the North Carolina
Guitar Magazine. in the jazz band. Having had no formal Symphony showcasing cowboy music as
Jonathan Maness grew up in a musical training in jazz, he started by adapting a trio, singing Gene Autry and Roy Rogers
family who enjoyed singing a cappella western swing rhythm styles he had learned standards in tight 3 part harmony. In the
gospel songs and listened to everything from from Doug Green (Ranger Doug of Riders season of 2001, Old Crow Medicine Show
Flatt & Scruggs to Bela Fleck. Jonathan In The Sky) to fit the Glenn Miller tunes in was hired as the house band for one of the
said, Dad was a casual banjo player and the bands repertoire. That grew to include venues on the park. Jonathans role was
Mom was a intermediate classical pianist. learning the jazz comping styles of Freddie changed to include playing their shows
I got a guitar when I was ten years old, in Green and Charlie Christian. At home, he on Old Crows days off, with former and
1989, just before we moved to Germany. continued playing along to the recordings current road musicians Tim Greene, Doug
Jonathans father worked for Raytheon as of Alison Krauss, Tony Rice, Doc Watson, Trivette, and Corey Pittman all well
a civilian contractor for the Department and Bela Fleck, while formally exploring a known and highly proficient musicians
of Defense. When the family moved to greater fingerstyle repertoire. in the western North Carolina bluegrass
Germany they lived off base since his father Jonathans ability to play fingerstyle had scene. The resulting scheduling melee
was not in the military. That may have been progressed to the point where an audition at required versatility on vocals and guitar,
the best thing as far as Jonathans future Appalachian State University in his senior and Jonathan subsequently found himself
career in music was concerned. Jonathan year of high school landed him immediate also thrust into playing the mandolin. Late
said, Where we lived there werent many acceptance into the music program with in the 2001 season Old Crow Medicine
kids that spoke English. The only thing a partial scholarship to study classical Show departed for Nashville. Jonathan then
that I could find to do in my spare time was guitar performance. When asked what the found himself in a full-time music gig and
practice the guitar. study of classical guitar in college added spent the remainder of that season honing
Jonathans father taught him his first to his bluegrass guitar skills, Jonathan his chops on mandolin and guitar.
few chords and showed him how to play said, It added an extra layer to my body From 2001 to 2003 Jonathan continued
Wildwood Flower. From there he used of knowledge and help break some bad his music education at Appalachian State. In
Mel Bay books and Homespun videos to habits in my fingerstyle technique. It also 2003, he graduated with Bachelors Degrees
teach himself how to play. He said that helped me developed goal oriented practice in Classical Guitar Performance and Music
the Docs Guitar video and Dan Crarys habits through its regimen of theory study, Industry Studies (with a concentration in
book The Flatpickers Guide were two very music reading, and aural skills training. Recording and Production) and a Minor
significant sources of flatpicking material. That helped put names to things that I in Business. During this same time frame,
Since the Doc Watson video also included was hearing and made me more of a well- Jonathan continued to perform as a classical
some fingerstyle tunes, Jonathan worked rounded musician. guitar soloist. Also he played the Boone
57
Flatpicking Guitar Magazine July/August 2011
Tim Stafford, he said, I never lobby for a
guitar solo on any song. If the song calls
for a guitar solo, Ill take one. Otherwise,
I dont. I get the feeling from this record
that Jonathan feels the same way. He
adds his guitar work to the song when and
where the song calls for it, otherwise, he
lets the Dobro, mandolin, or banjo have
the spotlight. When Jonathan performs on
stage or records in the studio he chooses
from one of three guitars. He has owned
a Santa Cruz Tony Rice model guitar since
2000. He also owns a 1947 Martin D-18
and a Taylor 812-CE.
Even though there is not a lot of lead
guitar work on this recording, I loved it.
jamgrass scene. Due to a personnel change, Jonathans current band, Mountain Soul, There is a good Americana mix of country,
the Pickadelics had morphed into Wise started out as an East Tennessee family bluegrass, roots, and folk music and,
Apple and Jonathan made the switch to band featuring parents Shawn and Amanda, overall, there is a very nice uplifting feel
mandolin. Wise Apple enjoyed an avid and brothers Daniel and Cory Kimbro. By to the music. Jonathan describes himself
following among the college kids in the time Jonathan entered the picture in as a country singer who likes acoustic
Boone. By late 2002, Jonathan had also December of 2006, the parents had left the instruments and he is currently working
started a new a folk-grass group with Becca brothers with the band, and it had morphed on a solo album in that vain. Mountain
Eggers-Gryder. The band called themselves into the makings of an impressive eclectic Souls music could be similarly described.
Amantha Mill. That band released a self- acoustic experiment. Daniel plays bass and Many of the tunes could be thought of as
titled album in 2003. In 2004, he played with sings a lot of the lead, and Cory plays the traditional country songs supported by
Amantha Mill and as a soloist, and married mandolin and sings tenor. Jonathan was bluegrass instrumentation. If you like great
his wife Melony. In October of 2005, he felt invited to sit in with the two brothers at a lead singing, strong vocal harmonies, and
a change of musical venue was necessary, so gig in Knoxville, and stepped immediately acoustic instruments, you will love this
he and Melony moved to Nashville. and comfortably into the roles of guitar and record.
Moving to Nashville the week before vocals. An alumnus of UTs jazz program, With the release of their self-titled
the annual IBMA convention has its where he was a classmate and collaborator recording, Mountain Soul hopes to start
advantages. Due to personnel shuffle, a of Daniel Kimbros, Mike Seal joined the an aggressive touring schedule. They are
job came open playing guitar for Valerie band in 2009 on Dobro and electric guitar. currently exploring the possibilities of
Smith less than two weeks after Jonathans Jonathan describes Mountain Souls a European tour and they are starting to
move to Nashville. Jonathan began a two current release as being Americana music book national festivals and regional East
year stint playing guitar with Valerie Smith that lies somewhere between Newgrass, Tennessee venues. If you see the name
and Liberty Pike. He stayed with that band Darrell Scott, and traditional country. Mountain Soul on your festival program
from October of 2005 through May of The recording features awesome vocal in the near future, make a point to set your
2007. During Jonathans time with Valerie, selections. The lyrics are very strong lawn chair close to the stage for that show.
Melony decided to get a Masters Degree and the singing is superb. Although the I think you are going to enjoy what you hear
from the University of Tennessee, so they instrumental solos are impressive, the focus from these boys. After hearing their record,
moved to Knoxville in August of 2006. here is appropriately placed on the vocals. Im very anxious to hear them play live.
After playing with Valerie Smith, Jonathan In contemporary bluegrass and Americana In addition to performing with Mountain
moved on to cover the vocal and guitar music most performing bands can produce Soul and working on his solo record,
duties with Chattanooga based southern fairly strong instrumental solos. What Jonathan spends a good deal of time working
gospel trio, Young Harmony. He was with usually separates the amateur home town as a recording engineer. Based on what I
that group until through May of 2009. In bands from the national touring pros is heard of the Mountain Soul recording, and
addition to playing with Young Harmony, the singing. Mountain Soul presents the the rough mixes of his solo record, Id say
Jonathan also started performing with the complete package phenomenal vocals that he is as talented behind the mixing
Dixie Bee-Liners in September of 2007 with superb instrumental support. board as he is in front of the microphone.
and he stayed with that band through June Jonathans flatpicking on this recording The Mountain Soul recording is very well
of 2009. His guitar playing is featured on is sparse. The only song where he really engineered and mixed, and it displays a
the Dixie Bee-Liners second Pinecastle steps out to take a full solo is Crazy Train very high production quality. I expect that
release, Susanville. He has spent the last (featured on this issues audio CD). For the bluegrass and Americana music world
two years playing for the Watkins Family, a the majority of the other cuts Jonathan will see a lot of great things coming out of
contemporary acoustic gospel group, based plays intros, fills, and split breaks with one Anteflow Recording Studios and Anteflow
in northeast Georgia. As of March 2011, he of the other instruments. All of the guitar Records in the future.
left them to pursue some personal musical work is very tasteful and appropriate to the
dreams. song. Years ago when I was interviewing
58 Flatpicking Guitar Magazine July/August 2011
Audio CD Crazy Train
Track 36
Arranged by Jonathan Maness

  A A

h p h p h p s p h p
3
T 3
0
6 8
0
8 6
0
6 10
0
10 6
0
6 8
0
8 6
7
6
7 5 3 5 3 3 4 0 3
A 0 5
B 3

F C

 A L A L
3

A L A
p h h h p p h p h

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

A

  A L A L A L
5 G


p p
p h s s p
h 0 1 0 0 6 3
0 0 1 0 0 1 3 3
0 0 0 2 3 3 4 3
0 2 0 0 2 3 3 4
2

A A A A
C
F
7


p s p h p h p h p
s
5 3 5 6 8 10 10 8 9 8 8 8 9 8 8 9 8 8 9
6 6 8 11 11 11 11 11 11

2011 Anteflow Records, Inc.

59
Flatpicking Guitar Magazine July/August 2011
Crazy Train (cont)

A
A A L A
G
9


A
h p s s p h p p p h p
8 8
11 11 8 11 8 8 6 6
10 7 7 5 3 5 3 3 4 0 3 2 0 2 0 0
5 3 3 0 0 2 0
1 2

A L A A H
11 3 3


3

3 3
p p
h p h p h h p
0 1 0 1 0

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

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60 Flatpicking Guitar Magazine July/August 2011


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Flatpicking Guitar Magazine July/August 2011
62 Flatpicking Guitar Magazine July/August 2011
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63
Flatpicking Guitar Magazine July/August 2011
CLASSIFIEDS continued

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64 Flatpicking Guitar Magazine July/August 2011


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Flatpicking Guitar Magazine July/August 2011
66 Flatpicking Guitar Magazine July/August 2011
Jim Lauderdale
and Collings Guitars

Jim Lauderdale and his 1994 Collings D2H SB

Serious Guitars | www.CollingsGuitars.com | (512) 288-7770


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Flatpicking Guitar Magazine July/August 2011
68 Flatpicking Guitar Magazine July/August 2011