Carter Style Aunt Rhoady #1

Carter Style The Carter style is named for Mother Maybelle Carter, guitarist in county music’s most famous family group, The Carter Family. While Maybelle played with a thumbpick and fingers, the style is popular with flatpickers. It is a complete style featuring the lead voiced on the bass strings and rhythm chord strums. The style works in any key but is often played in C and G. The classic Wildwood Flower is perhaps the best-known Carter style guitar song. Below is a basic Carter style version of Aunt Rhoady. Use all downstrokes. Aunt Rhoady #1 16 Hammer-Ons Now we’ll learn a left-hand technique and add it to Aunt Rhoady. The hammer-on in the next tune is accomplished by playing an open string and quickly placing your fretting finger down forcibly so that you get a second note. Listen to the CD track carefully to get the right sound. If the second note is muffled, use more speed and force. The hammer-on is indicated in the music with a small arc, called a tie, which connects the two notes. Practice the exercise below. Remember, pick the string only once and allow the hammer to create the second note. The hammers in measures 1 and 2 using the second finger while measures 3 and 4 use the third. 17 13 18 Aunt Rhoady 2 After you learn this arrangement, try playing Aunt Rhoady 1 and 2 together without stopping. Pull-Offs Another important left-hand technique is the pull-off. The pull-off is accomplished by rapidly removing your left-hand finger to an open string note creating two notes. Do not lift your finger from the string but pluck the string with a sideways motion - either up, towards the ceiling or down, towards the floor. Pull-offs always move from a higher note to a lower note and are indicated by the same arched ties used to indicate hammer- ons. 19 14 Aunt Rhoady 3 Here is a version with hammer-ons and pull-offs. Listen to the track for the exact sound. Pay special attention to the hammer-on / pull-off combination in measure seven. 20 Crosspicking Since you know the melody of Aunt Rhoady, it is a good tune to use for the next exercise. Crosspicking is a way to present a melody surrounded by notes of the chord. The right-hand picking usually falls into patterns. Example one belows shows two patterns often called the forward and reverse rolls. The symbols over the music staff indicate pick direction. In measure one, the pattern is down-down-up-down-down-up-down- down.(The V symbol indicates an upstroke.) This is the forward roll. In measure three, the pattern is up-up- down-up-up-down-up-up. This is the reverse roll. Practice these patterns until they are comfortable. 21 15 Here is a crosspicked arrangement of Aunt Rhoady. Pay close attention to the pick direction symbols. 22 Aunt Rhoady 4 That was a hard lesson! Here is a fun exercise that will have you playing up-the-neck. This exercise involves only the top four strings. The third and fourth strings change while the first and second strings remain unchanged. This is a fun set of chords to strum or to pick as in the exercise. This progression has even been used to accompany songs as in Michael Martin Murphy’s Geronimo’s Cadillac. Pay close attention to the alternating picking beginning in measure five. The movement here is descending thirds in E. Thirds is the name of the musical interval between the two descending notes. 23 16.

Copy Link

Recommended publications

Magpick: an Augmented Guitar Pick for Nuanced Control
Magpick: an Augmented Guitar Pick for Nuanced Control Fabio Morreale Andrea Guidi Andrew McPherson Creative Arts and Industries Centre For Digital Music Centre For Digital Music University of Auckland, Queen Mary University of Queen Mary University of New Zealand London, UK London, UK [email protected] [email protected] [email protected] ABSTRACT This paper introduces the Magpick, an augmented pick for electric guitar that uses electromagnetic induction to sense the motion of the pick with respect to the permanent mag- nets in the guitar pickup. The Magpick provides the gui- tarist with nuanced control of the sound that coexists with traditional plucking-hand technique. The paper presents three ways that the signal from the pick can modulate the guitar sound, followed by a case study of its use in which 11 guitarists tested the Magpick for five days and composed a piece with it. Reflecting on their comments and experi- Figure 1: The Magpick is composed of two parts: a ences, we outline the innovative features of this technology hollow body (black) and a cap (brass). from the point of view of performance practice. In partic- ular, compared to other augmentations, the high tempo- ral resolution, low latency, and large dynamic range of the The challenge is to find ways to sense the movement of Magpick support a highly nuanced control over the sound. the pick with respect to the guitar with high resolution, Our discussion highlights the utility of having the locus of high dynamic range, and low latency, then use the resulting augmentation coincide with the locus of interaction.
[Show full text]
To Loinplain Ale Facts
music the country of america record club an ALL 'OU Sez to haveCountry President a dream MULL Honorary cindY Friends of yours, and to PEARL - Nashville made a reality MINNIE to some was stick. Thanks Re cord Club end of the featur- MUSIC of the long Albums, got hold top Country club members enjoy these COUNTRYsichave your favorite reasonable enjoy all to goodness other great and other great stars own andi s at honeststores and you caneow their hit songs, record at savin's- singing regular big-big the top stars in ing can't get I just ingustyou j here,,nI that Roy Acuff prices being around you fun excitement I m Gene Autry so in on it . so MUSIC RECORD been having. let you Johnny Bond I'vrece been chancechanhce in THE COUNTRY pass up a Johnny Cash couldn'tou Charter Member meand be a facts: Mother Maybelle Carter to the ale high give you You'll get Patsy Cline CLUB.loinplain so, I'll just Music albums. them. speeches,thee, Country paying for Cowboy Copas one for fancy favorite body else is I ain't all your everybody way to get half what Jimmy Dean the BEST is just of CMRC is the price the price of "gimmee, Pete Drake 1. The even though albums for that sort quality albums price - 2 fees all them. Roy Drusky Members membership want order Flan Scruggs (Special2.NCONTRACTSRb when you album and SIGN . you want, CLASSICS Homer and Jethro TO order theerrecords GOLDEN they'rem You onto the Special artists and Johnny Horton salesm talk.
[Show full text]
An Overview of a Strumming Guitar Robot
StrumBot – An Overview of a Strumming Guitar Robot Richard Vindriis Dale Carnegie Victoria University of Wellington Victoria University of Wellington School of Engineering and Computer Science School of Engineering and Computer Science Wellington, New Zealand Wellington, New Zealand [email protected] [email protected] ABSTRACT • Incorporate features that allow for additional musical StrumBot is a novel standalone six stringed robotic guitar consisting expressivity. of mechanisms designed to enable musical expressivity and minimise acoustic noise. It is desirable for less than 60 dBA of noise at 1 m to be 2. BACKGROUND emitted to allow StrumBot to play in intimate venues such as cafés or Previous musical robots have a problem with the acoustic noise restaurants without loud motor noises detracting from the musical created from mechanical sources, such as a carriage rubbing against a experience. slide. This noise is not musical and interferes with the enjoyment of StrumBot improves upon previous robotic musical instruments by listening to the robots perform. While this does not matter in a concert allowing additional expressive opportunities for a composer to utilise. setting, it is not suitable for playing in a home or café type StrumBot can perform slides, vibrato, muting techniques, pitch bends, environment. A normal speaking volume (measured at 1 m) is pluck power variances, timbre control, complex chords and fast approximately 60 dB and it would be preferred if the robotic noise was strumming patterns. below this level. A MIDI input allows commercial or custom controllers to operate MechBass, BassBot and Swivel have all been designed for StrumBot.
[Show full text]
Realguitar 5 User's Manual
REALGUITAR 5 USER'S MANUAL COPYRIGHT © 2004-2021 BY MUSICLAB, INC. TABLE OF CONTENTS ABOUT THE PROGRAM .................................................................................................................................................. 3 WHAT’S NEW IN REALGUITAR 5 ............................................................................................................................. 5 INSTALLING REALGUITAR ............................................................................................................................................. 6 Installing RealGuitar PC version ..................................................................................................................... 6 Installing RealGuitar Mac version .................................................................................................................. 6 Launching RealGuitar .............................................................................................................................................. 6 Managing Sound Bank ........................................................................................................................................... 7 REALGUITAR STEEL STRING ....................................................................................................................................... 8 Virtual Fretboard .......................................................................................................................................................... 8 Virtual Keyboard ..........................................................................................................................................................
[Show full text]
Guitar Best Practices Years 1, 2, 3 and 4 Nafme Council for Guitar
Guitar Best Practices Years 1, 2, 3 and 4 Many schools today offer guitar classes and guitar ensembles as a form of music instruction. While guitar is a popular music choice for students to take, there are many teachers offering instruction where guitar is their secondary instrument. The NAfME Guitar Council collaborated and compiled lists of Guitar Best Practices for each year of study. They comprise a set of technical skills, music experiences, and music theory knowledge that guitar students should know through their scholastic career. As a Guitar Council, we have taken careful consideration to ensure that the lists are applicable to middle school and high school guitar class instruction, and may be covered through a wide variety of method books and music styles (classical, country, folk, jazz, pop). All items on the list can be performed on acoustic, classical, and/or electric guitars. NAfME Council for Guitar Education Best Practices Outline for a Year One Guitar Class YEAR ONE - At the completion of year one, students will be able to: 1. Perform using correct sitting posture and appropriate hand positions 2. Play a sixteen measure melody composed with eighth notes at a moderate tempo using alternate picking 3. Read standard music notation and play on all six strings in first position up to the fourth fret 4. Play melodies in the keys C major, a minor, G major, e minor, D major, b minor, F major and d minor 5. Play one octave scales including C major, G major, A major, D major and E major in first position 6.
[Show full text]
Virginia: Birthplace of America
VIRGINIA: BIRTHPLACE OF AMERICA Over the past 400 years AMERICAN EVOLUTION™ has been rooted in Virginia. From the first permanent American settlement to its cultural diversity, and its commerce and industry, Virginia has long been recognized as the birthplace of our nation and has been influential in shaping our ideals of democracy, diversity and opportunity. • Virginia is home to numerous national historic sites including Jamestown, Mount Vernon, Monticello, Montpelier, Colonial Williamsburg, Arlington National Cemetery, Appomattox Court House, and Fort Monroe. • Some of America’s most prominent patriots, and eight U.S. Presidents, were Virginians – George Washington, Thomas Jefferson, James Madison, James Monroe, William Henry Harrison, John Tyler, Zachary Taylor, and Woodrow Wilson. • Virginia produced explorers and innovators such as Lewis & Clark, pioneering physician Walter Reed, North Pole discoverer Richard Byrd, and Tuskegee Institute founder Booker T. Washington, all whose genius and dedication transformed America. • Bristol, Virginia is recognized as the birthplace of country music. • Virginia musicians Maybelle Carter, June Carter Cash, Ella Fitzgerald, Patsy Cline, and the Statler Brothers helped write the American songbook, which today is interpreted by the current generation of Virginian musicians such as Bruce Hornsby, Pharrell Williams, and Missy Elliot. • Virginia is home to authors such as Willa Cather, Anne Spencer, Russell Baker, and Tom Wolfe, who captured distinctly American stories on paper. • Influential women who hail from the Commonwealth include Katie Couric, Sandra Bullock, Wanda Sykes, and Shirley MacLaine. • Athletes from Virginia – each who elevated the standards of their sport – include Pernell Whitaker, Moses Malone, Fran Tarkenton, Sam Snead, Wendell Scott, Arthur Ashe, Gabrielle Douglas, and Francena McCorory.
[Show full text]
Ukulele Strums Blues Tunes
The Roll and Muffle Strum is a “funky” strum that works well with some ragtime and old Ukulele Strums blues tunes. It is really a simple down stroke with the ball of the thumb on the first beat, fol- As Performed By Cool Hand Uke There are as many ways to strum and pick the ukulele as there are tunes lowed by a down stroke roll that ends with the to play on it. This essay may help players develop their own collections strings being muffled with the heel of the hand of strumming styles. No one style appeals to everyone or works with on the second beat. This strum can be made to every song. Most folks can pull off some strums but not certain others. sound like a railroad locomotive and is a good Strums are like the colors on an artist’s palette. Not all artists favor the one to take on a country drive. same colors. But mix them and match them—or ignore them—to your heart’s content. The Pinch Stroke is a favorite. Rest your middle, ring and little fingers on the top of the Besides being a source of sweet melodies, the ukulele’s small body ukulele below the sound hole, so the index fin- makes it a charming percussive instrument. Strumming can be impro- ger dangles above the treble strings. I alternate vised easily on the fly, like drum rhythms — not to the detriment of the plucking the fourth and third strings with my feeling and melody of the music but to their enhancement.
[Show full text]
Guitar Performance in the Nineteenth Centuries and Twentieth Centuries Paul Sparks
Performance Practice Review Volume 10 Article 7 Number 1 Spring Guitar Performance in the Nineteenth Centuries and Twentieth Centuries Paul Sparks Follow this and additional works at: http://scholarship.claremont.edu/ppr Part of the Music Practice Commons Sparks, Paul (1997) "Guitar Performance in the Nineteenth Centuries and Twentieth Centuries," Performance Practice Review: Vol. 10: No. 1, Article 7. DOI: 10.5642/perfpr.199710.01.07 Available at: http://scholarship.claremont.edu/ppr/vol10/iss1/7 This Article is brought to you for free and open access by the Journals at Claremont at Scholarship @ Claremont. It has been accepted for inclusion in Performance Practice Review by an authorized administrator of Scholarship @ Claremont. For more information, please contact [email protected]. Guitar Performance in the Nineteenth and Twentieth Centuries Paul Sparks By 1800 guitars with six single strings (tuned EAdgbe') had become the norm. The rosette gave way to an open sound hole, while the neck was lengthened and fitted with a raised fingerboard extending to the sound hole. Nineteen fixed metal frets eventually became standard, the top note sounding b". The bridge was raised, the body enlarged, and fan-strutting introduced beneath the table to support higher tension strings. Treble strings were made of gut (superseded by more durable nylon after World War 11), bass strings from metal wound on silk (or, more recently, nylon floss). Tablature became obsolete, guitar music being universally written in the treble clef, sounding an octave lower than written. By the 1820s makers such as Louis Panormo of London were replacing wooden tuning pegs with machine heads for more precise tuning, and creating the prototype of the modem classical guitar (a design perfected in mid-century by Antonio Torres).
[Show full text]
Evolutiondracus-Usersguide.Pdf
Evolution Dracus Preface ............................................................................................................................................ 6 Achieving Realism....................................................................................................................... 6 What's Under the Hood?............................................................................................................ 7 Installation ...................................................................................................................................... 9 Step 1: Extract the RAR Files ...................................................................................................... 9 Step 2: Activate Through Native Access ..................................................................................... 9 Step 3: Load in KONTAKT ......................................................................................................... 10 KONTAKT Sample Library Organization.................................................................................... 11 Factory Presets .............................................................................................................................. 12 Snapshots ................................................................................................................................. 12 Interface ........................................................................................................................................ 13 Sections ...................................................................................................................................
[Show full text]
RASGUEADOS on the Classical Guitar Level 4
RASGUEADOS on the classical Guitar Level 4 RASGUEADOS Rasgueados are an elaborate form of strumming, using down strokes and up strokes with both the fingers and thumb. Rasgueados can be played to defined rhythms or as musical gestures. They can be exciting, spectacular and even heroic in pieces such as Asturias by Isaac Albeniz and Joaquin Rodrigo’s Concierto de Aranjuez. There are many combinations that can be played and the composer does not always give instructions as to where the down or up strokes are - often writing just rasgueado (or rasg.) above the passage. Sometimes a rasgueado is not specified at all, or a chord may only have the strum/arpeggiato symbol, and the guitarist decides that a rasgueado, rather than a strum with p, would be exciting at that point. The player often needs to decide which rasgueado sounds best - choosing which finger combinations/groups to use and where to play the down and up strokes. To be able to choose, the guitarist needs to know the possibilities, and this tutorial covers rasgueados that demonstrate the various finger movements/strokes which can be combined and adapted to the context. The Spanish word rasgueado is onomatopoeic and descriptive. It is probably derived from rasguñado – grazed or scratched. Appropriately, has the word uña (fingernail) embedded. raspado - scraped – which can colloquially also mean ‘with no manners!’ rasgado - ripped, torn. Together with the rolled Spanish ‘r’ they all give a sense of the qualities the rasgueados can have! Pronunciation: RA(t)S - GUE(ss ) - A(t) -DO(n) > q e e e Rasgueados can be boisterous and if those around you tell you to ‘put a sock in it’1 - take them at their word - take the sock, thread it through the strings to mute them - and carry on practising! 1‘be quiet!’ Level 4: Rasgueados 1 The rasgueados in this tutorial are played with pima.2 The following pages contain descriptions of the finger/hand movements in rasgueados, when they are played slowly.
[Show full text]
“It Wasn't God Who Made Honky Tonk Angels”-- Kitty Wells (1952)
“It Wasn’t God Who Made Honky Tonk Angels”-- Kitty Wells (1952) Added to the National Registry: 2007 Essay by John Rumble (guest post)* Kitty Wells When Kitty Wells first recorded for Decca Records in 1952, she had toured for years with her husband, Johnnie (later Johnny) Wright, and his partner, Jack Anglin. But the mother of three was tired of the road, and earlier sessions for RCA had yielded no hits. This time, her main concern was the session fee she would earn. Wells had moved back to Nashville, her hometown, with Johnnie & Jack on the strength of that duo’s 1951 hit “Poison Love,” their entrée to the Grand Ole Opry cast. Now, with Johnnie’s prospects looking up, she pondered leaving full-time entertaining altogether. As it turned out, Wells’s “It Wasn’t God Who Made Honky Tonk Angels,” her first Decca release, quickly scaled “Billboard” magazine’s country charts. The hit made Wells a major star, and an Opry member in her own right. To be sure, country music had boasted successful female artists since the 1920s. The Carter Family’s Sara and Maybelle Carter, cowgirl singer Patsy Montana, and Opry comedienne Minnie Pearl had already won national fame. But Wells was the first to reach #1 in the decade after World War II, when country entered its takeoff phase. In these years, American women faced enormous pressures to leave their wartime jobs, renounce political concerns, and return to keeping house and raising children. Popular magazines, psychologists, and men (whose jobs women had filled) all told them so.
[Show full text]
Clarence Belcher Collection
Clarence Belcher Collection The Bassett Historical Center is a non-circulating facility. Feel free to come in and listen to any selection from this music collection here at the Center. LOCAL 45s (recorded on one CD) 01 Dink Nickelston and the Virginia Buddies – (1) Henry County Blues; (2) Trying at Love Again 01 The Dixie Pals – (1) Dixie Rag; (2) Wedding Bells 01 The Dixie Pals – (1) The Model Church; (2) Pass Me Not 01 The Dixie Pals – (1) Who’ll Take Care of the Graves?; (2) Don’t Say Good-Bye If You Love Me 02 Ted Prillaman and the Virginia Ramblers – (1) There’ll Come a Time; (2) North to 81 Albums (* recorded on CD) 01 Abe Horton: Old-Time Music from Fancy Gap (vault) 01A Back Home in the Blue Ridge, County Record 723 (vault) 02* Bluegrass on Campus, Vol. 1, recorded live at Ferrum College Fiddlers Convention 02A Blue Grass Hits (Jim Eanes, The Stonemans) 03* Blue Ridge Highballers 1926 Recordings featuring Charley La Prade (vault) 04* Blue Ridge Barn Dance – Old Time Music, County Record 746 (vault) (2 copies) 04A Camp Creek Boys – Old-Time String Band (vault) 04B Charlie Poole – The Legend of, County Record 516 (vault) 04C Charlie Poole and the NC Ramblers, County Record 505 (vault) 04D Charlie Poole and the NC Ramblers, County Record 509 (vault) 05* Charlie Poole & the NC Ramblers – Old Time Songs recorded from 1925-1930 (vault) (2 copies) 05A* Charlie Poole and the NC Ramblers – Old Time Songs recorded from 1925-1930, Vol. 2 (vault) 06 Clark Kessinger, Vol.
[Show full text]