Table of Contents

Partial Capo Basics ...... 1 Partial Capo Devices ...... 4 History of the Partial Capo...... 7 E-Sus Chord Charts...... 12 Handsome Molly...... 16 Stepstone...... 18 Sweet Sunny South...... 20 Katie Dear...... 21 Go Wash in that Beautiful Pool...... 22 Cluck Old Hen...... 24 Shady Grove...... 26 The Coo Coo...... 28 The Coo Coo in Am...... 30 Deep River Blues...... 32 Little Birdie...... 34 Don’t Let Your Deal Go Down...... 35 All Through the Night...... 36 Aura Lee (Low) ...... 37 Aura Lee (High)...... 39 Look Up, Look Down that Lonesome Road...... 40 Abe’s Strategic Withdrawal...... 41 Long Time Travelin’...... 42 The Curtains of Night...... 44 Miss Rowan Davies...... 45 Since I’ve Laid My Burden Down...... 46 Nobody’s Fault But Mine...... 47 John Henry...... 48 Houston Blues...... 49 Down in Navasota...... 50 St. James Infirmary...... 51 Partial Capo Basics

The simplest way to picture the difference between non‐standard tunings and partial capoing is to consider the common Drop D tuning, and compare it with its partial‐capoed rough equivalent, which we call Drop E. If you have a Third Hand, or a Shubb, Keyser, or other open‐jaw style capo that can be used to clamp a Drop E, you may want to read this page with guitar in hand.

Drop D Tuning

In drop D tuning the low E string is tuned down one whole step to D. It has the effect of giving almost any fingering of a D family chord a big, fat, glorious tonic bass. The three bass strings on the guitar are D, A, and D, two tonics and a strong 5th bass for any D chord. You can play any D or D minor or D7 on the three treble strings anywhere on the fretboard and use all three bass strings all the time without ever tying up even one finger. That's nice. You can play melody or riffs freely anywhere on the neck as long as they can be harmonized with any D family chord.

Drop D tuning is used almost exclusively to play in the key of D, or sometimes D minor. Even in these keys it has some drawbacks. The most obvious of these is the IV chord, or G. The tonic bass that props up the IV chord is on the sixth string, the string that has been retuned. That means that bass note has migrated from the third fret up to the fifth. While this is not insurmountable, it is inconvenient. Some of the licks that fall easily under your fingers while playing a conventional G chord are either more difficult or not available in Drop D.

The key of D minor also has some problems. The drop chord, C, which is common in that key, loses access to its alternate bass on the sixth string. While this may not seem like a big problem, the weak drop chord really has a marked negative impact on that key. The contrast between the very strong I minor chord and the weakened drop chord is very evident.

All six string barre chords lose their bottom note in Drop D. Some of these are important chords in the D keys. Consider the common E form barre chord. In standard tuning it has a strong tonic bass on the sixth string. In Drop D it loses that. That means that good options for both the IV and V chords have been significantly weakened, not a small problem.

1 Drop E Partial Capo

Now let's look at Drop E partial capo configuration. Instead of tuning the E string down a whole step, we're going to clamp all the other strings up a whole step. Finger a D shape chord, and you will find that you can play it as a six string chord, just as in Drop D tuning. It also has a low tonic bass on the sixth string.

Think it through. The open, unclamped sixth string is an E note. The D chord you're playing has been turned into an E by being capoed up a whole step. So it follows that you can play the D shape chord (actual pitch is E) as a six string chord with a tonic bass on the sixth string, just like in Drop D tuning.

The fundamental difference between tuning and capoing becomes clear when you play the IV chord, the one that looks like a G. Unlike Drop D tuning, where the sixth string bass note for the IV chord is displaced by retuning, in Drop E partial capo configuration the IV chord plays normally. So does the Drop chord in the minor key. So do all the barre chords. This is very useful.

There is one fly in the ointment, although a minor one. The II minor chord (the Em fingering) loses it's sixth string tonic bass. That is an important chord in some songs in this key, although in thousands of songs it doesn't show up at all. Fortunately, if you are using a low profile open jaw capo to clamp the Drop E, it isn't too difficult to reach over the capo to get that bass note back. Or you might decide this is the wrong configuration for a song that relies heavily on the II minor.

It's also worth noting that while Drop D tuning is only useful in the keys of D or D minor, Drop E can be cross keyed to wonderful effect. Playing in G position (actual pitch A), you get a standard I chord, a standard IV chord, and a V chord with a gift low tonic bass note on the sixth string. This is worth considering for almost any G position I‐IV‐V song. The fingerings are all normal, but one of the most important chords in the key is noticably improved. Another cute trick this configuration lends itself to is starting a song in C position, with C, F, and G shapes as the I, IV, and V chords, all of which finger normally, and then modulating up to D at some point in the song. It sounds as though you didn't just change the key, but the tuning as well.

2 Summary...

By now the difference between a non‐standard tuning and a partial capo should be coming into focus. When you retune, all of the notes on any string which has been retuned are displaced by one fret for every half step of retuning. The fingerboard can very quickly become an unfamiliar place. The common fingerings of chords and scales which we have all put so much time into mastering are lost.

Of course this is not in itself a bad thing. Open tunings are great ways to discover musical combinations you might never stumble across in standard tuning. Open tunings open new doors, but they also close others. In many tunings the doors which are opened are outnumbered by those which are closed.

This is not necessarily a problem. If all you're trying to do is arrange one song, then all any tuning has to do is provide the fingerings that will do that job. The things which may not be possible in that tuning are irrelevant.

Standard tuning is standard because it offers the most versatility. You can play with relative convenience in many different keys using standard tuning. Non‐standard tunings are much more specific. Usually they're effective in only one key. A particular tuning may give you a great I chord, a cool IV chord, and an acceptable V chord, but perhaps offer no good way to finger a relative minor. This is why most people who use open tunings a lot, use a lot of different open tunings. Otherwise everything starts to sound the same.

In contrast, partial capoing only alters chords and scales where one of the unclamped strings is played open. Barre chords and closed position scales are entirely unaffected. Many nut position chords are fingered normally as well, depending on the configuration. A partial capo can give you access to open tuning‐like tonalities, and to chord voicings not available in standard tuning, without turning your fingerboard into terra incognito.

3 Partial Capo Devices

This absurd photograph actually appeared in the Journal of Research in Music Education in the early 1980's. The Journal was publishing a paper about how to use the partial capo to simplify guitar fingerings for children and those with learning disabilities, and their editors did not want to give publicity to any specific commercial product. Since our Third Hand Capo was the only product there was that accomplished the task of making an Esus chord, they printed this photo rather than one of our capo.

There are a number of ways to partially capo a guitar. They fall into three categories: capos designed for partial application, standard capos that can be used out of the box for some partial configuration(s), and standard capos that can be readily altered for partial use.

Third Hand Capo

4 The Third Hand Capo is the only universal partial capo. It can clamp any combination of strings on any guitar. It is the best way to clamp some configurations, and the only way to do them all with one device. It is invaluable for experimentation. If you get involved in partial capoing at all, you should have a Third Hand. Many people will find it satisfies all their partial capo needs.

There are at least two other commercially available capos designed for specific partial configurations. The Shubb partial capo can clamp either an E suspended chord or an A major chord, depending on which side of the neck it is applied. from. The Keyser Drop D capo is designed to clamp all but the low E string at the second fret, making the configuration we call Drop E. We were making our own versions of it out of standard Shubbs for years before they decided to start manufacturing them. (See below.) The Esus configuration is by far the most popular of all the partial capo uses, and Open A, the other configuration it clamps is also very useful. The Keyser Drop D works fine, but you can do the same thing by simply off-setting a standard Keyser, so we think its existence is pointless.

Shubb Partial Capo

Keyser Drop D

5 Several "open jaw" type capos, including Shubb, Keyser, Victor, and Dunlop Trigger models can be placed slightly off center to clamp Drop E configuration. None will work on any or every guitar, but all will work on most guitars. (Be careful when doing this. You don't want to mar the back of your neck. The padded part of the capo cradle is out of position and metal may contact the finish.)

Finally, some models of standard capos can be adapted to partial use with grinders, saws, and files. Just about any open jaw capo can be shortened to make Half Open A. Notches can be filed or cut to let strings pass through capos for other configurations. This can be tricky. Fingerboard width, string action, and fingerboard curvature all have to be taken into account. We prefer to work with Shubb capos when doing alterations for several reasons. They are made of brass, a soft metal which works easily. They have the smallest profile of any open jaw capo we know, so they're the easiest capo to reach over when you need to finger a note next to or behind the capo.

6 Harvey Reid has been using partial capos for 24 years, and though the idea has taken root many places in the world,and has been used effectively by thousands of players, teachers, and music therapists, it has been mostly ignored by the guitar press. History of the Partial Capo by Harvey Reid

The history of the Third Hand Capo is a history of coincidences. I have not been able to determine if the idea of a partial capo has occurred in the past, and the 5‐string banjo is still the only stringed, fretted instrument I have seen that uses strings of different lengths fretted on the same fingerboard. I have looked in museums, and read a lot of books about the history of stringed instruments, and have found no instrument that uses strings of different lengths, fretted on the same fingerboard. Classical harps have had "sharping levers" for a long time, that shorten strings, and bass players have had an extended low E string that can be made 2 frets lower to D in the same manner as a partial capo, but the idea of playing a stringed instrument intentionally with different length strings seems to be new. I know of no one who has recorded or explored this idea in depth before me.

In the Fall of 1976 I began experimenting with capo‐ing only some of the strings of a guitar, while I was in the only period in my life when I was playing some 5‐string banjo. (The issue of what happens when you capo the banjos's 5th string up to A or tune it up to A is exactly the same issue involved in the Third Hand Capo.) I was teaching guitar classes at the University of Maryland. By coincidence I happened to see an ad for a chord‐forming capo in a guitar magazine, the very night I was sawing up Bill Russell capos to make A chords and trying to design a variable capo. I figured somebody had beat me to the idea, and thought no more about it for a while. I eventually contacted the company that made them, bought a few, and exchanged some letters with the inventor, not fully realizing how little he knew of how to use the device.

In 1979 I moved to Nashville to make my fortune, where I met Illinois songwriter Jeff Hickey, who asked me a question I still cannot answer when I showed him the capo at my apartment one night. He asked me "Why doesn't every guitar player on Earth have one of these?" He had some experience in running a music store, so rather than wait for our turn to get famous in Gnashville, we formed the Third Hand Capo Co. of Nashville, TN which began marketing the capo that fits any guitar and that allows any combination of strings to be clamped using a mechanism devised by Lyle Shabram. He invented the mechanism as an easier way to tune the guitar; his idea was inspired by the Insta‐Tune, (which, coincidentally, was invented in Rockville, MD, and which I got as a free gift when I bought my first guitar because it was sitting on the counter at Wheaton Music, a few miles away, where I bought my Hoyer 12‐ string in the summer of 1971. I also got a free Jerry Odo Hi‐Fi Pick) I still have my original Insta‐Tune, which I used to show my guitar classes for laughs, and which is on display in Jeff Hickey's Capo Museum in Madison, WI.

Here is a "What's New" column from Guitar Player Magazine April 1968, that shows the Insta‐Tune. Someone recently sent me this clipping, because, coincidentally, they had called it a "third hand". I had never seen this until then. The device holds down the 5th fret of the string (and shifts over to hold down the G string at the 4th fret) so you can pluck the string with one hand, and work the tuning knob with your left hand, and not have to hold down the string to compare it to the next string while tuning.

7

The "Chord­Forming Capo"

Lyle Shabram's Chord‐Forming Capo was sold to a few people and a handful of music stores in California in the mid 1970's, with the subtitle "A Tool For the Creative Musician." Lyle was correct about this, though the instructions from his capo (shown below) and subsequent discussions with him indicated that while he had made the device to tune the guitar, he suspected (correctly) that there might be musical uses for his capo. As far as I know, he never found any of the ones any of us actually use, and the picture here (the original; instruction sheet with the capo) shows 2 diagrams of how to make an E chord with 2 capos, and how to capo both E strings at the Third fret with one capo.

8 I published a book in 1980 called A New Frontier in Guitar, revealing what I knew about the subject, after realizing that the capo itself did people very little good without a lot of information on how to use it. Since then, most of the information in the book has been crammed into the instruction sheet that comes with each capo.

In 1982 when I recorded my first guitar album Nothin' But Guitar, it included 7 cuts with the Third Hand. I believe this is the first commercially available recording made using a partial capo. Since then I have recorded over 74 tracks using 16 different capo configurations, and only a handful of people ever noticed that something very different was going on. On stage I most often use sawed off straight capos, for speed and appearance. (I did not use the capo when I won the 1981 National Fingerpicking contest in Winfield, KS. ) Now that the idea has spread rather widely and other musicians are claiming to have developed this concept, I feel it is time to stand up and take credit for propagating the idea.

Most of those who use a partial capo use primarily the E suspended configuration, which I first started using in 1980. The first pieces I wrote for this configuration was "Suite in F: For the Duchess", which I recorded in 1983 on my 2nd LP "A Very Old Song" (The title cut, written in 1980 also uses this configuration, as does "I Will Learn to Love You," and "Dreamer or Believer".)

I have published 3 books about the capo (1980, 1983, 1984), and have written a chapter on it in the first college‐level folk guitar textbook ever published (Modern Folk Guitar Knopf 1980, now McGraw‐Hill, still in print in their textbook division). I developed a revolutionary method of using a partial capo to teach beginning guitar with simplified fingerings, (the Duck Soup Guitar method) and gave talks on the subject at the National Association of Music Therapists (1982) and National Assoctaion Of Music Educators (1983) conferences. I published an article (with co‐author Dr. Terry Kuhn of Kent State Univ.) in the Journal Of Research of Music Education on the same subject. The capo has been in constant use by dozens of university music departments and music therapy centers ever since.

Recent Developments

Many people mistakenly assume that I invented the Third Hand Capo mechanism, and that I use only it. In fact, I was the first person to saw off a Shubb capo, which I did in 1987, and have used ever since on stage instead of the clumsier Third Hand. There have been unconfirmed reports for over a decade that

9 various Third Hand Capos have appeared in the concerts of Dan Fogelberg, John Sebastian, Lindsay Buckingham, Ry Cooder, and others, but I have no evidence.

We gave a lot of Third Hands away to famous people at concerts and trade shows over the years, and many music stores have had them on their shelves since 1980. The Third Hand Capo Company has sold tens of thousands of these capos since 1980, in over 20 countries, and they have been given to many many well‐known and not‐so‐known guitar players, most of whom did nothing with it. Chris Proctor got his in 1981, as did Seth Austen, and these two players jumped on the bandwagon quicker than most, and have been quite active, especially in using the Esus configuration. Below is an August 1982 letter from Leo Kottke claiming he was afraid of it, and showing his lack of understanding of it.

The recent expansion of the use of the idea of partial capoing owes a lot to several of my friends from New England who have used the device for years. Tom Pirozzoli is a songwriter from Sunapee, NH who took his Third Hand Capo to the Kerrville Folk Festival in Kerrville, TX (a mecca for modern songwriters) where he tells me he showed it to David Wilcox in May of 1989. Tom has told me that at that time David was not using any partial capoing in his playing, though in the last few years he has begun to use it quite a bit, almost exclusively the Esus configuration, for which he saws off a Kyser capo. (He has claimed in several interviews to have been using the idea for longer than this.) Cosy Sheridan, Cormac McCarthy and Rick Watson are also players from the Northeast who have begun to tour the country quite a bit in the last few years, and they have no doubt spread the capo around. (The list of players who have been given a capo and not used it is a much longer list.) At the Winnipeg Folk Festival in 1993 I did 2 guitar workshops with Adrian Legg, who at the time was not doing any partial capoing. Since then he has started to use one, especially the Open A configuration, I have been told.

The Third Hand Capo Co. will release a compilation of my partial capo work, as yet untitled, hopefully available in 2001. It will contain many things culled from my existing catalog, but will also have several cuts from Nothin But Guitar (long out of print), possibly some home tapes from 1980, probably the original version of The Albatross, plus several new tracks available nowhere else, and probably some alternate takes of earlier things. Shubb capos http://www.shubb.com/ has begun manufacturing an Esus partial capo last year, though I am not sure if it will fit any guitar neck at any fret. There may be too much variation from the thin Telecaster neck to a classical fingerboard, and a single width of capo may not fit them all. The beauty of the Third Hand Capo is that is does indeed fit all guitars and allow clamping of any possible combination of strings.

10 The largest challenge now facing the partial capo issue these days is the issue of notation, and I have posted an open letter to the guitar industry about this problem.

If anyone knows any relevant historical information not included here, please notify me.

HARVEY REID June 1996

11 A A A A m m 8 m m m m m m m n n n n n n n n n n n n l l 5 l l 5 l l 5 l 5 l l l l 7 7 l 7 l l 7

9 9 9 9

12 12 12 12

A13 A9 Aadd9 Am m m m m m m 8 m m m m m n n n n n n n n n n n n l l 5 5 l 5 l 5 l l l l 7 l 7 7 l 7

9 l l 9 9 9

12 12 12 12

Am9 Am9 Ama6 Amaj9 m m m m m m m m m m m n n n n n n n n n n n n l l 5 5 l 5 l 5 l l l 7 7 l 7 l 7 l l 9 9 9 9 l l

12 12 12 12

12 B B B B7 m m 8 m 8 m m m m m 8 n n n n n n n n n l n n n l l l l l l 5 l 5 5 5 l 7 l l 7 l 7 7 l

9 9 9 9

12 12 12 12

B7/9 B7sus B9 Bm11 8 m m m m m m m m m m m n n n n n n n n n n n n l 5 5 5 5 l

7 7 l 7 l 7 l l 9 9 l l 9 l l 9 l l 12 12 12 12

Bm11? Bm7/11 Bsus4 C 8 m m 8 m m m m m m m m n n n n n n n n n n n n l l 5 5 5 5 l 7 7 l 7 l 7 l l l 9 9 9 l 9 l l l

12 12 12 12

13 C Dm9 E E 8 m m m m m m m m m n n n n n n n n n n n n l l

5 l l l 5 5 5 l 7 7 l 7 7 l l l 9 9 l 9 l 9 l l

12 12 12 12

E [?] E6/9 E7 E7sus m m m m m m m m m m m m m m n n n n n n n n n n n n

5 5 5 5

7 7 7 7 l

9 9 l 9 l 9 l l l l l l l 12 12 12 12

E9 E9? Eadd9 Em#9 m m m m m m m m m m m n n n n n n n n n n n n

5 5 5 5 l 7 7 l 7 7 l l 9 l l 9 l 9 l 9 l l l l l 12 12 12 12

14 Em9 Em9 Em9 Ema6 m m m m m m m m m m m m n n n n n n n n n n n n l l 5 l 5 l 5 5 l l 7 l l 7 l 7 l 7

9 9 9 l l 9

12 12 12 12

Ema7 Ema7 Ema7b5 Emaj7 m m m m m m m m m m m n n n n n n n n n n n n l 5 5 5 5 l l l 7 l 7 l 7 7 l l l l 9 l 9 9 l l 9

12 12 12 12

Esus Esus F F#m7 m m m m m m m m 8 m m m n n n n n n n n n n n n l 5 l l 5 5 5 l l l l 7 7 7 l 7 l l l l 9 9 9 9

12 12 12 12

15 16 Handsome Molly Use E-Sus Partial Capo/Play in E

D A # 4 & # 4 . œ œ ˙ œ œ œ œ ˙ œ œ Wishœ œ I was in Lon - don or someœ oth-erœ œ sea-port town I'd T A 0 0 0 0 2 0 B 0 0 0 2 2 0 0 0 2 .

G D ## j j & œ œ œ œ œ œ œ ˙ œ œ œ œ . set my foot in a steam boat I'd sail theœ o - cean 'roun˙ d

2 2 2 2 4 2 4 4 2 0 0 0 2 0 . J J

While sailing around the ocean Now you've broke your promise While sailing around the sea Go home with who you please I'd think of Handsome Molly While my poor heart is aching Wherever she might be You're lying at your ease

She rode to church on Sunday Hair was black as a raven She passed me on by Her eyes was black as coal I saw her mind was a-changing Her cheeks was like some lilies By the roving of her eye Out in the morning grown

Don't you remember, Molly When you gave me your right hand? You said if you ever marry That I would be the man

September 2008, Doofus Music

17 Stepstone Use E-Sus Partial Capo/Play in E D G D # # 4 Ó & 4 œ œ œ ˙ œ ˙ œ œI stood˙ on my step-stone when school days wereœ o'erœ ˙ T A 0 2 4 2 0 0 0 Ó B 0 0 2 0 0

A # # j j & œ. œ ˙ œ œ. w w Longed˙ for the time to go by

0 0 0 2 4 2 2 0 . .

D J J G D # # j Œ & œ œ. œ ˙ œ ˙ œ Now˙ it is gone and I stand here toœ - nightœ ˙ Onœ

0 2 4 2 0 0 0 Π0 . 2 0 0 0

J A D # & # œ œ ˙ œ œ œ w this˙ my old step - stone and home Chorus Goodœ -

0 0 2 0 0 0 0 4 0

September 2008, Doofus Music 1 18 G D ## Ó j & œ œ ˙ œ œ ˙ œ œ œ. œ bye˙ to my step-stone good - bye to my home˙ God˙ bless the

0 2 4 2 0 0 0 Ó 0 0 0 4 2 0 .

A G D G J ## Ó & ˙ œ œ ˙ œ œ ˙ ˙ œ œ ˙ œ œ ˙ œ œ ones that I leave with a sigh Fields will be white-nin' and I will be

0 0 2 4 2 2 4 2 Ó 4 2 4 2 0 0 0 4

D A D ## & œ œ ˙ œ œ w w gone˙. toœ rambl˙ e this wide world all a - lone

0 4 2 0 0 0 2 . 2 0 4

It's hard to be parted from those that we love When reverses in fortune have come The world's strongest heartstrings are broken in two With the absence of loved ones and home

(Chorus)

I stand on my stepstone at eve'ning time now The wind rushes by with a moan Now it is gone and I stand here tonight On this my old stepstone and home

(Chorus)

September 2008, Doofus Music 19 2 Sweet Sunny South Use E-Sus Partial Capo/Play in E D # 4 & # 4 œ œ œ œ œ œ œ œ œ œ œ œ Takeœ me home to the place where I first saw the lightœ to the T 0 A 0 0 0 4 2 0 0 4 B 0 2 4 4 0

G D ## & œ œ œ œ œ œ œ ˙. œ œ œ œ œ œ œ œ sweet sun-ny south take me home Where the mock-ing bird sing me to

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

A D A D # & # j œ œ œ . œ œ œ œ œ œ ˙. sleep ev - 'ry nightœ Oh why was I temptœ - ed to roam

0 0 0 4 2 0 2 0 . 4 0. 0 4 J

Take me home to the place where the little ones sleep The path to the cottage they say has grown green Poor massa lies buried close by And the place is quite lonely arund O'er the graves of the loved ones I long to weep And I know that the smiles and the forms I have seen Among them to rest when I die Now lie deep in the dark, mossy ground

I think with regret of the dear ones I left Take me home let me see what is left that I knew Of the warm hearts that sheltered me then Can it be that the old house is gone Of the wife and the dear ones of whom I'm bereft The dear friends of my childhood indeed must be few And I long for the old house again Now and I must face death all alone

Take me home to the place where the orange trees grow By yet I'll return to the place of my birth to my cot in the evergreen shade Where my children have played at the door Where the flowers on the river's green margins may grow Where they pulled the white blossoms and garnished They are sweet on the banks where we played the earth Which will echo their footsteps no more

September 2008, Doofus Music

20 Katie Dear Use E-Sus Partial Capo/Play in E G D G # 4 & # 4 œ ˙ ˙ œ œ ˙ œ œ œ œ œ œ œ œ Oh Kat - ie dear Go ask your moth-erœ œ œ If you can be a T 0 2 2 A 4 4 0 0 4 0 0 0 0 4 B 2 0 0 0

DA G ## & œ œ œ œ œ œ œ ˙ œ œ œ œ bride of mine If she say yes, then come and

2 2 4 2 2 4 4 0 0 4 0 0

D A D # & # ˙ œ j œ œ œ œ œ œ œ ˙œ . tell meœ œ œ If she says no, We'll run a - way

2 2 0 0 4 4 4 2 0 0 2 0 0 0 . J

Oh Willie dear there's no use asking Then he picked up that silver dagger She's in her room a-taking her rest And stabbed it through his weary heart And by her side is a silver dagger Saying goodbye Katie, goodbye darling To slay the one that I love best At last the time has come to part

Oh Katie dear, go ask your father Then she picked up that bloody dagger If you can be a bride of mine And stabbed it through her lily white breast If he says yes, comeback and tell me Saying goodbye Mama, goodbe Papa If he says no, we'll run away I'll die with the one that I love best

Oh Willie dear, there no use asking He's in his room a-taking his rest And by his side is a silver dagger To slay the one that I love best September 2008, Doofus Music

21 Go Wash in That Beautiful Pool

Use E Sus Partial Capo/Play in E D G D ## 3 & 4 œ œ œ œ œ œ œ œ œ ˙. œ œ Go wash in that beau - ti - ful pool Go T A 0 0 0 0 2 0 0 0 4 B 0 2 0

A D # # œ œ œ ˙. œ œ. & œ œ œ ˙. J œ

wash in that beau - ti - ful pool The ri - ver of

2 2 2 2 4 2 4 4 0 2 4

G D J ## & œ ˙ œ œ œ ˙ œ œ œ œ life is flow - ing for all Go wash in that

0 0 2 0 0 0 0 0 2 0

A D ## & œ œ œ ˙. œ

beau - ti - ful pool

4 4 2 0 0

September 2008, Doofus Music 22 My father's crossed over the river, He's now in the kingdom of God, He's now in the kingdom with the angels all 'round Go wash in that beautiful pool

Go wash in that beautiful pool Go wash in that beautiful pool The river of life is flowing for all Go wash in that beautiful pool

My mother's crossed over the river ... My brother's crossed over the river ... My sister's crossed over the river ... My children've crossed over the river

23 Cluck Old Hen

Use E-Sus Partial Capo/Play in Em Dm C Dm C Dm C Dm # # # 4 . œ œ œn œ œ œ œ œn œ . & 4 œn ˙n œn œ œn œn ˙ My old hen's a good old hen She lays eggs for the rail - way men Some-times eight some-times ten That's e - nough for the rail - way men

T 3 1 3 3 1 2 0 2 0 2 0 0 2 0 A . 3 0 . B . .

Dm C Dm C Dm # # # . œ . & œ œ ˙n œ œ œ œ œn œn œ œn œn ˙ Cluck old hen cluck and sing˙n Ain't laid an egg since way last Spring Cluck old hen cluck and squall Ain't laid an egg since way last Fall

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

My old hen's a good old hen She lays eggs for the railroad men Some times 1 some times 2 Some times enough for the whole darn crew

Some times 5, some times 6 Some times 7, some times 8 Some times 9, some times 10 Plenty of eggs for the railroad men

Hen old hen where your chickens gone Down in the new ground peckin' up corn First time I saw her she cackled in the lot Next time I saw her she cackled in the pot

Cluck old hen, cluck when I tell you Better lay an egg or I'm gonna sell you Cluck old hen, cluck and squawk Better lay an egg or I'm gonna sell you

1 September 2008, Doofus Music 24 Cluck Old Hen

Cluck old hen cluck and squeak My old rooster's a good old rooster Ain't laid an egg since way last week He don't crow the way he uster Cluck old hen, cluck for the men Back before the gentlemen Laid one egg better do it again Made chicken soup of my old hen

Cluck old hen cluck and lay Hickety pickety, my young pullet Better have an egg, I've got bills to pay She lays eggs the size of bullets Cluck old hen, cluck and scratch When you fry them up in lard Better lay an egg or I'm going for the ax Fortunately, they're not as hard

Cluck old hen, make an egg My old hen is a good old hen Lay one now, I ain't gonna beg Crosses the road every now and then Cluck old hen, cluck all night Asked her why she took that walk if you dont lay an egg, it's Chicken Delight She explained, "Buck buck b'cauk!"

Cluck old hen, cluck 6-10 Dow-Jones Average is down again Cluck old hen, cluck 1-2 Soon you're gonna be chicken stew

My old hen's a good old hen. Ain't laid an egg since the Lord knows when Says her pay don't meet her need She ain't gonna work for chicken feed

My old hen's a good old hen Crosses the road every now and then Asked her why she took that walk She just clucked cause she can't talk

My old hen's a good old hen She lays eggs for the railroad men Ain't no railroads left today That's why my old hen don't lay

My old cock's a good old cock Stands on the dunghill, hear him squawk Bet that first line had you scared My old hen, she don't care

My old cow's a good old cow Gives all the milk that she knows how Sometimes one quart, sometimes two Chocolate milk she will not do

2 25 September 2008, Doofus Music Shady Grove Use E-sus Partial Capo/Play in E Chorus A D G ## C . w & . œ œ ˙ œ œ œ ˙ œ œ œ œ Sha-dy Grove my lit - tle love Shad - y grove I say T 2 4 A . 2 2 2 4 2 2 0 0 0 4 B .

D A # # œ œ ˙ . & œ œ œ œ œ œ œ œ œ w Sha-dy Grove My lit- tle love I'm bound to go a way

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

D G ## . œ œ œ œ œ œ œ œ œ œ w & . œ œ œ ˙ œ Instrumental Introduction/Interlude

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

D A ## œ œ œ œ œ . & œ œ œ œ œ œ œ œ œ w .

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

September 2008, Doofus Music

1 26 Shady Grove

Every time I go to town, it's always dark and cloudy Every time I see that gal, I always tell her "howdy"

Sewed a shirt for my true love, it was neither black nor brown It's the color of the stormy sky before the rain comes down

Wish I was in a shady grove, Sittin' in a rockin' chair And if those blues would bother me, I'd rock away from there

Had a banjo made of gold, Every string would shine The only song that it would play, "Wish That Girl Was Mine"

When I was in a shady grove, Heard them pretty birds sing The next time I go to shady grove, Bring a diamond ring

When you go to catch a fish, Fish with a hook and line When you go to court a girl, Never look behind

When I was a little boy, All I wanted was a knife Now I am a great big boy, I'm lookin' for a wife.

September 2008, Doofus Music

27 2 The Coo Coo

Use E-Sus Partial Capo/Play in Em Dm G Dm 4 œ œ œ & b 4 œ œ œ œ œ œ œ œ œ œ œ œ œ œ ˙ œ œ œ œ Instrumental ˙ T 3 1 3 1 3 1 2 2 3 2 0 2 2 3 2 0 0 2 2 3 A 3 0 3 B

C Dm & b œ œ ˙ œ œ œ Œ Ó j j œ œ œ ˙. Verse Gonœ. - naœ buildœ me˙. ˙ œa logœ .

2 0 0 0 2 0 3 3 3 0 . Œ Ó 3 . 3 3 0 . 0 3 3 . J J G Dm C Dm & b œ œ œ œ˙ . ˙ ˙ œ ca -bin˙. ˙ on the moun - tain so˙ hghw ˙ So I can˙.

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

G Dm C & b œ œ œ œ w ˙ ˙ see the coo - coo˙. ˙. as she goesœ onœ

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

September 2008, Doofus Music 1 28 Dm G & b j j œ œ byw ˙ Oh,œ. theœ cooœ - coo˙. ˙ She'sœœ a . pret-ty bird˙.

0 0 0 0 3 . 3 3 0 . 0 3 3 . 0 . J J Dm C Dm & b œ œ˙ . ˙ j ˙ amdœ she war - bles asœ sheœ fliwes ˙ andœ. sheœ

0 2 2 . 0 0 3 0 0 0 0 3 . 3 J G Dm & b œ œ œ œ˙ . nevœ - er˙. ˙ holœ - lersœ coo - coo˙. ˙ 'Til the 4th day

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

C Dm & b ˙ ofœ Juœ - lyw w

0 0 0 3 3

I've played cards up in England Jack of Diamonds, Jack of Diamonds I've played cards down in Spain I know you of old I'll bet you five dollars You have robbed my poor pockets I'll beat you this game (chorus) Of my silver and my gold (chorus)

September 2008, Doofus Music 2 29 The Coo Coo

Am 4 Ó œ œ œ œ œ œ œ œ œ œ & 4 œ œ œ œ œ œ œ œ œ œ œ œ Instrumental Intro and/orœ break œ œ œ œ œ œ T 0 1 1 1 1 0 1 1 1 1 H 0 0 0 H 0 2 A Ó 2 2 2 2 2 2 2 B 0 0 0 0 0 0 0

G Am œ œ œ & œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ

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

œ œ œ œ œ œ & œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ

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

G Am Verse œ œ œ œ. œ & œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ J œ œ œ œ œ œ œ œ œ œ œ œ œ Gon - na

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

September 2008, Doofus Music 1 J 30 Am G . & œ ˙. ˙ œœ . œ œ ˙. ˙ œ œ œ ˙ build me Ja log ca - bin on the moun - tain coo coo She's a pret -ty bird and she war - bles 1 1 1. 1 1 1 0 3 . 2 . 2 2 . 2 2

J G Am & ˙ œ œ w ˙ œ œ œ ˙. ˙ œ œ œ ˙. so high So I can see the coo-coo as she flies And she ne - ver holl - ars coo-coo 3 1 1 1 1 1 1 0 0 2 2 2 . 2 2 .

G Am Chorus & ˙ œ œ w ˙ œ œ w ˙ œ. œ as she goes on by Oh, theJ 'til the last day of Ju - ly 1 1 0 3 0 1 1 2 0 2 2 .

J

I've played cards up in England It's trouble, it's trouble, it's trouble on my mind I've played cards down in Spain If trouble don't kill me, I'll live a long time I'll bet you five dollars She drinks the cool water to keep her voice clear I'll beat you this game (chorus) And the cuckoo will come again in the springtime of the year (Chorus) Jack of Diamonds, Jack of Diamonds I know you of old You have robbed my poor pockets Of my silver and my gold (chorus)

September 2008, Doofus Music 2 31 32 33 Little Birdie Use E-Sus Partial Capo/Play in E D A # & # 4 j œ œ ˙ œ œ œ œ œ. œ œ œ Chorus Litœ - tle bird - ie lit - tle bird - ie˙ won'tœ you sing to me your T A 0 4 2 0 2 0 4 2 B 0 2 4 0 0 4 . J

D A D # & # j ˙. œ œ ˙ œ œ œ œ œ. œ œ œ ˙. song Gotœ a short time to stay here˙ andœ a long time to be gone

0 0 4 2 0 2 0 4 2 0 . 0 2 4 0 0 4 . . J

Well I'd rather be in some dark hollow Married woman, married woman Where the sun don't ever shine Why don't you settle down Than for you to be another man's darling Your heart's like the little birdie's And to know that you'd never be mine You're flying all around

Little birdie, little birdie Little birdie, little birdie What makes you fly so high What makes you seem so blue When you know that my true lover It's nothing else but trouble Is a-waiting in the sky Of, a-grieving over you

I'm a long way from old Dixie Little woman, pretty woman And my old Kentucky home What makes you act so down Got no father or mother You ain't got no right to worry No place to call my home You ain't got no righ to frown

Little birdie, little birdie Little birdie, little birdie What makes your head so red Won't you sing to me your song Well, after all that I been through You've caused me lots of trouble It's a wonder I ain't dead You've caused me to do wrong

September 2008, Doofus Music 1 34 Don't Let Your Deal Go Down D CG D A7 D ## 4 œ ˙ ˙n ˙ & 4 œ ˙ œn œ Chorus Don't let your deal go down lit - tle girlw T 3 3 1 3 2 2 A 3 2 0 B

CG A7 D CG # œ ˙ œ ˙ ˙ & # œ ˙n œ œ# w w œ ˙n Don't let your deal go down Don't let your deal go 3 3 1 3 3 1 3 2 0 1 2 2

D A7 D G A7 D ## & ˙ œn œ œ œ ˙ ˙ œ ˙n œ down lit-tle girl˙ 'Till your last gold dol - lar is gonew w

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

I've been all around this whole wide world Papa will shoe my pretty little feet Way down in Memphis, Tennessee And Mama will glove my hand Any old place I hang my hat And sister will kiss my rosy red cheeks Seems like home to me And it's I don't need no man

Chorus Chorus

When I left my love behind Where did you get them high-heel shoes She's standin' in the door And that dress you wear so fine? She throwed her little arms 'round my neck and said, Got my shoes from a railroad man "Sweet daddy please don't go." Dress from a driver in the mine

Chorus Chorus

Who's going to shoe your pretty little feet And who's going to glove your hand And who's going to kiss your pretty red cheeks And who's gonna be your man

Chorus September 2008, Doofus Music 35 All Through the Night

Use E-Sus Partial Capo/Play in E D Bm Em A GA D # & # 4 j j j Œ œ. œ œ œ. œ œ œ. œ ˙. Sleep, my child,œ and peace at- tend thee,œ all˙ through the night. T A 0. 0 2. 0 0 . Œ B 4 2 4 0 2 4. 4 J J J D Bm Em A GA D # & # j j j Œ œ. œ œ œ. œ œ œ. œ ˙. Guar-- dian anœ gels God will send thee,œ all˙ through the night

0. 0 2. 0 0 . Œ 4 2 4 0 2 4. 4 J J J G Bm Em DA # & # œ œ œ œ œ œ œ j œ œ œ œ œ œ. œ œ œ Soft the drow- sy hours are creep- ing, hill and dale in slum-- ber sleep ing, 0 0 0 2 2 0 0 4 4 4 2 0 4 2 0 . 4 J D Bm Em A GA D # & # j j j Œ œ. œ œ œ. œ œ œ. œ ˙. I am lovœ - ing vi-- gil keep ing,œ all˙ through the night.

0. 0 2. 0 0 . Π4 2 4 0 2 4. 4 J J J While the moon her watch is keeping, all through the night While the weary world is sleeping, all through the night O'er thy spirit gently steeling, visions of the light revealing Breathes a pure and holy feeling, all through the night

arrangement by Doofus Music 1999 36 Aura Lee Use E-Sus Partial Capo/Play in E

D Em A D # œ ˙ w & # 4 œ œ œ œ œ œ œ œ œ As the black-bird in the spring, on - the wil - low tree T A 0 0 2 2 0 0 B 0 4 2 4 2 4

D Em A D # œ ˙ & # œ œ œ œ œ œ œ œ œ w Sat and piped I heard him sing, sing of Au - ra Lee

0 0 2 2 0 0 0 4 2 4 2 4

D F#m Bm D # œ œ ˙ œ œ ˙ œ œ œ w & # œ Au - ra Lee Au - ra Lee Maid of Gold - en Hair

4 4 4 4 4 4 4 2 0 2 4

Em A D # œ œ œ œ œ ˙ w & # œ œ œ œ œ Sun - shine came a - long with thee, Swal - lows in the air.

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

September 2008, Doofus Music 1 37 Aura Lee

When the blackbird in the spring, On the willow tree, Sat and rocked, I heard him sing, Singing Aura Lee

Aura Lee, Aura Lee, Maid of golden hair; Sunshine came along with thee, And swallows in the air.

In thy blush the rose was born, Music when you spake, Through thine azure eye the morn, Sparkling seemed to break.

Aura Lee, Aura Lee, Bird of crimson wing, Never song have sung to me, In that sweet spring.

Aura Lee! The bird may flee, The willows golden hair Swing through winter fitfully, On the stormy air.

Yet if thy blue eyes I see, Gloom will soon depart; For to me, sweet Aura Lee Is sunshine through the heart.

When the mistletoe was green, Midst the winter's snows, Sunshine in thy face was seen, Kissing lips of rose.

Aura Lee, Aura Lee, Take my golden ring; Love and light return with thee, And swallows with the spring.

September 2008, Doofus Music 2 38 Aura Lee 3fr. D Em A D # œ ˙ w & # œ œ œ œ œ œ œ œ œ As the black-bird in the Spring on the wil - low tree

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

3fr. D Em A D # œ ˙ & # œ œ œ œ œ œ œ œ œ w Sat and piped I heard him sing Sing of Au - ra Lee

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

5fr. 5fr. D F#m Bm D # œ œ ˙ œ œ ˙ œ œ œ w & # œ Au ra Lee Au - ra Lee Maid of Gold - en Hair 2 2 2 2 2 2 2 2 5 3 5

3fr. D Em A D # œ œ œ œ œ ˙ w & # œ œ œ œ œ Sun - shine came a - long with thee, Swal - lows in the air 2 2 3 2 5 5 3 2 2 3 4 4

September 2008, Doofus Music 3 39 Look Up, Look Down That Lonesome Road

Use E-Sus Partial Capo/Play in E # 4 & # 4 œ œ œ ˙ ˙. œ œ œ Lookœ up, lo-ok down thatœ lone-some road˙ ˙. Hangœ T 2 0 2 2 2 0 A 0 4 . 0 4 0 0 0 B .

# & # œ œn œ œ œ œ œn œ œ œ down your head and cryw ˙. œ ˙.

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

True love, true love, what have I done The whistleblew and the bell did ring That you should treat me so? The engine rolled ahead

You've caused me to walk that lonesome road The train did wreck in a mile of town That I've never walked before And killed my true love dead

The longest train I ever saw If I had wings like Noah's dove Was on that Georgia Line I'f fly to my true love's door

The engine went down at six o'clock I'd walk the porch from post to post And the cab went down at nine Hand down my head and cry

The prettiest girl in this wide world Look up, look down that lonesome road Was standing on behind Hang down your head and cry

September 2008, Doofus Music

40 Abe's Strategic Withdrawal to a Minor Key Use E-Sus Partial Capo/Play in Em Dm A G Dm A Am 4 . & b 4 . œ œ œ œ œ œ œ ˙ ˙ œ œ œ œ œ ˙ œ œ ˙ T 0 2 3 2 0 A . 0 0 2 3 3 0 2 B . 0 3 3 3 0 0

Dm AG Dm A Dm b œ œ œ . & œ œ œ œ œ œ œ œ œ œ œ . œ œ œ œ œ œ ˙ 3 3 3 0 2 2 0 2 2 0 2 0 0 2 3 3 0 0 . 0 3 3 . Dm œ œ œ œ œ œ œ œ œ œ œ & b œ . œ œ œ ˙

3 3 3 3 3 1 3 3 3 5 5 3 2 . 2 2 2 .

Am A Dm A Dm j b œ. œ. œ. œ. œ. œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ . & œ œ œ ˙

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

arr. ©1997 Doofus Music 41 Long Time Travelin' from Allison's Sacred Harp Singers and the Mill Run Dulcimer Band

Chorus D G D CG/B # j 2 4 & # 4 ‰ œ œ œ œ œ 4 4 œ œ œ œ œ œ œ œ œ œ œ œ œn œ œ I'mœ a long time trav-el-in'œ here be-low, I'm a longtime trav-el-in'œ a - way from my

T 0 0 0 0 2 A 0 4 0 ‰ 4 4 4 2 0 B 0 2 2 0 2 0 2 3 2 2 J

A D G D A7 D # j & # 4 ‰ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ˙. homeœ ˙ I'mœ a long time trav-el-in'œ here be-low, gon-na lay this old bo-dy down

0 0 0 0 2 0 4 0 ‰ 4 4 4 2 0 2 0 2 0 0 0 2 2 0 4 . J

Verse D G D A7 D # j & # ‰ œ œ œ œ œ œ œ œ ˙ œ œ œ œ œ œ ˙. œ Yeœ fleet - ing charms of earth fare- well, your springs of joy are dry Myœ Verse

0 0 0 0 2 0 4 0 ‰ 4 4 4 2 0 2 0 0 2 . 0 2 J

G D A7 D # j # ‰ œ & œ œ ˙ œ œ œ œ œ œ œ œ œ œ œ ˙. soul now sees an - oth - er home a bright - er world on high

0 0 0 0 2 0 4 0 ‰ 4 4 4 2 0 2 0 4 . J

September 2008, Doofus Music 1 42 Long Time Travelin'

Chorus

When I can read to my titles clear To my mansions in the sky I’ll bid farewell to every fear And I’ll wipe my weeping eye

Chorus

Farewell my friends, whose tender care Has long has engaged my love Your fond embrace I now exchange for better friends above

Chorus

J. T. ALLISON'S SACRED HARP SINGERS

In the storied history of Sacred Harp singing, the 1927-1928 recordings by J. T. Allison's ensemble represent a curious anomaly. For these recordings are rare instances of the convergence of two important cultural movements of the southeastern U.S.-the emerging country music recording industry and the impressive tradition of singing religious folk music from shape-note tunebooks. The Allison group traveled from their homes in Birmingham and Moody, Alabama, to the legendary Gennett recording studio in Richmond, Indiana. What things led them to do this is of much importance here, as is what things led many others not to.

The Sacred Harp

The music the Allisons recorded would have been sung directly from The Sacred Harp, a book first compiled in 1844 in Hamilton, Georgia. This musical volume is a shape-note tunebook, meaning that the music was printed in shape-note musical notation to aid in music reading. The Sacred Harp uses four shapes, so its music is sometimes called "fasola" music for the names of the notes of the scale, "fa-sol-la-fa-sol-la-mi-fa" (as opposed to the more-familiar "do-re-mi" seven-shape system, "do-re-mi-fa-sol-la-ti-do"). The shape-note system derives from the singing school tradition installed in eighteenth century New England whereby public singing classes were held with the purpose of improving the music in the churches. Around 1800, shape-note notation was devised-assigning shapes to the note heads to represent degrees of the musical scale-to aid in learning and reading. The movement spread south and west with the population, accumulating local styles and repertoires in the process. This practice spread widely in music publishing, so that by the mid-nineteenth century there were many tunebooks printed in shape-note notation. The shape-note system declined over the nineteenth century as the now-familiar round-note notation was increasingly adopted in church music and European art music.

43 2 The Curtains of Night

Use E-Sus Partial Capo/Play in Em Dm b 4 & 4 œ œ ˙ œ œ ˙ œ œ ˙ œ œ ˙ œ œ When the cur - tains of night are pinned back by the stars and the T 0 A 0 0 0 0 0 2 3 0 0 3 B 3 3 3

G Dm b & ˙ œ œ ˙ œ œ w ˙ œ œ ˙ œ œ ˙ œ œ beau - ti - ful moon sweeps the sky When the dew-drops from hea -ven are

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

C Dm A7 Dm b & ˙ œ œ w ˙ œ œ ˙ œ œ ˙# œ w ˙ kissed by the rose It is there that my mem -œ o -ry flies

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

Chorus Go where you will on land or on sea I'll share all your sorrows and cares At night when I kneel by my bedside to pray I'll remember you love in my prayers

Oh upon the wing of a beautiful dove I will hasten this message of cheer I will send you a kiss of affection and say I'll remember you love in my prayers

Oh the angels in heaven are guarding the good As God has ordained them to do In answer to prayers that I offer Him Well I know there's one waiting for you

arr©2001 Doofus Music 44 Miss Rowan Davies

3fr. Use E-sus Partial Capo Play in E D F m B m G D E m # # # 3 . œ ˙ & 4 . œ œ j ˙ œ ˙ œ œ ˙ œ œ. œ œ ˙ œ ˙ œ œ T 3 0 2 A . 4 2 0 0 0 0 0 0 4 2 2 4 B . 0 0. 2 4 J

A D F#m B m G A ## j & ˙ œ œ j œ œ j œ. j ˙ œ œ. œ œ ˙ œ œ œ. œ œ œ œ. œ œ 0. 2 4 2 0 0 0 0. 2 4 0 0 0 0. 2 4 4 2 4. 2 4 J J J J

2fr. 2fr.

D G E m D G E m D # # ˙ ˙ œ œ ˙ j œ. j & ˙. ˙ œ œ ˙ œ œ œ œ œ.œ œ œ œ ˙ œ œ 0 0 0 2 2 2 . 0 0 . 0 4 2 0 0 0 4 2 0. 2 4 0 2 4 4 J J

3fr.

F#m G E m D B m G A D D # j & # œ œ ˙ œ œ œ ˙ jœ. j œ œ.œ œ œ ˙ œ œ œ œ œ.œ œ ˙. ˙ 0 0 0 2 0 0 2 0. 4 2. 4 4 2 0 0 0 0 . 0 4 2 4. 2 4 J J J September 2008, Doofus Music 45 46 47 48 49 50 51