The Guitar As an Accompaniment Instrument

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Utah State University DigitalCommons@USU

All Graduate Theses and Dissertations Graduate Studies

5-1976

The Guitar as an Accompaniment Instrument

Michael Christiansen Utah State University

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Recommended Citation Christiansen, Michael, "The Guitar as an Accompaniment Instrument" (1976). All Graduate Theses and Dissertations. 3436. https://digitalcommons.usu.edu/etd/3436

This Thesis is brought to you for free and open access by the Graduate Studies at DigitalCommons@USU. It has been accepted for inclusion in All Graduate Theses and Dissertations by an authorized administrator of DigitalCommons@USU. For more information, please contact [email protected]. Ti lE GUITAR AS AN ACC0\1PANI MEJ'IT L'JSTRU)\!EJ'IT

by Hi chael Christ iansen

A t hesis in part ial fulfillment of the requirements for the degree of

~ lA STER OF MUSIC

Approved :

UTA! ! STATE UN I VERSITY Logan , Ut al1

1976 .FORWARD

The following copyrighted methods booklet was developed and is being sold commerciall y i n partial fulfillment for the requirements of the degree of ~laster of Music at Utah State University. The

instruction book was designed to be used in teaching guitar classes at the University because after a review of many teaching materials, one was not found to be suitable for the purposes of t eaching beginning and i ntermediate group classes on a university level.

This is a beginning method for group or i ndividual guitar instruction which will present several ways in which the guitar may be used as an accompaniment i nstrument. If the test is used for group instruction the student may progress at his own rate of speed. Each concept in the book is a "follow-up" of a previous skill. The book is designed so one type of accompaniment leads to a more difficult one.

The student should feel comfortabl e playing one accompaniment before trying the next. However, in a group situation al l of the students may be playing the same piece using different accompaniment styles.

In many music books and much sheet music the guitarist is provided with the chords, but no indication of how the song is to be strummed or picked. This book provides many types of accompaniment patterns which can be used to pl ay not only the traditional songs contained in the book itself, but al so songs from music books and sheet music.

The book also contains a section which enables the student to t rans- pose or change the chords of a song. Many chords are dra1m in the book and one section enables the student to learn many chords from memorizing only a few patterns. There is also a portion of the book which aids the s tudent in ear development and playing "by ear." ......

® Copyri~t by Michael K. Chriltianren, 1976. All Ri~ts R_. : ~r t. ~

THE GUITAR AS AN A•~CUMPAN J MENT fNSTRUMENT

by Michael Christiansen

{S) Copyright by Michael K. Christiansen , 1975 TABLE OF CONTENTS

Definition of Terms . l Parts of the Gu i tar 2 Buying a Guitar .. 3 Strings ...... 4 Care of the Gu i tar 5 Types of Guitars . 7 Hold i ng Position . . 11 Left Hand Position . 12 Right Hand Posi tion . .13 Plectrums (Picks) . .15 Fingernails . . . . .15 Tuning the Guitar . -17 Chords ...... 19 Str um Patterns . . .26 Chord Refer ence Sheet . .28 Alternati ng Bass . 29 Fi nger Picking . . .32 Tr avis Pick ... . . 33 Travis Variati ons -35 Chords With Added Bass Notes -37 Finger Picking - 3/4 Meter . -39 Straight Finger Picking Style . . 41 Chord Cl ock. . 43 Bar Chor ds . . 46 Repeat Signs -50 Song Section -51 DEFINITION OF TERMS

Chord ...... More than two notes sounded at the same time .. Up the Neck .. . Toward r_ he body. Down the Neck .Away from your body . Pick . . .The act of stroking the string to produce a sound . Plectrum . The small instrument made of nylon or plastic which is held between the thumb and first finger and is used to strike the strings . It is also referred to as a "pick. " Open .. .No fingers of the left hand pushing on the strings while the right hand is stroking the strings . Pick up. . Stroking the strings in a straight up action , not into the guitar or away frorr_ the guitar . Strum .. . Stroking more than two string s at the same time so the strings vibrate simultaneously . Lower strings . . The larger strings on the guitar Higher strings .The smaller string ~ on the guitar. 1st string . . .The smallest string on the guitar. 6th string . . .The largesT- string on the guitar . Acoustic Guitar . . Any non- electric guitar . Feed Back .... . The hum which results when the volume of an electric guitar amplifier is turned loud enough f or the strings to vibrate by themselves . Amp or Amplifier .The device which electrically amplifies an electric guitar . Meter. . The number of beats or counts per measure. Tempo. .The speed of counts per measur e .

1 PARTS OF THE GUI TAR

Head

Pick Guu'd

Waist

2 BUYING A GUITAR

A reliable music store should carry a wide selection of guitars for yo·1 to choose from . Ask your teacher which brands he would suggest. You mi6ht also ask him to help select a guitar for you . You do not need an expensive instrument in the beginning . Choose a guitar that feels confortable to you . Do not choose one that is too large for you to hold correctly .

Strum across the strings and make sure they do not buzz . If the action (distance between the fingerboard and the string) is too high , the strings will be hard to push down . If the action is too low, the string will buzz. The action may be adjusted, but the guitar should play fairly easily when it is purchased .

Hold the guitar so you can look down the neck . Make sure the neck is straight , not warped.

Buy a case that suits the price of your guitar. Do not buy a case that costs more than the guitar . The case you purchase should be able to protect your guitar from bumps, SQueezes, and kicks.

The type of guitar you buy Sbould be influenced by the style of music you wish to play. Classical guitarists use classic guitars. Jazz and "Rock" guitarists use electric guitars . Folk singers use 12- string , folk, and classic guitars , etc . However , any style music can be played to a certain level of proficiency on any type guitar . STRINGS

There are three basic kinds of strings : nylon strings , flat- vound strings , and round- wound strings.

Nylon strings have a mellow sound and are best suited for the classic guitar . They can also be used on the folk gu itars, whereas the metal strings should never be used on a classic guitar because the pressure of the metal strings on the neck could warp the neck. The nylon strin6S feel softer when pushing on them than do the metal strings .

Flat- wound strings have a narrow flat piece of metal wrapped around a metal core. These strings should be used only on the electric guitar .

These strings feel smooth and will not have a scratching sound when your fingers slide on the string . It is a "dead" sounding string made of metal and should never be used on acoustic guitars . They do not resonate enough to produce a good tone on an acoustic guitar.

Round-wound strings have a round wire wrapped around a metal core.

These strings sound louder and ring longer . They should be used only on the folk and arch top guitars . Some round-wound strings may be used on acoustic as well as electric guitars. The bronze round- wound strings which are metal are a louder sounding string . They may not be used on an electric guitar . They are not treated magnetically and cannot be heard through the amplifier.

All types of strings come in various gauges of diameter. The heavier the gauge , the thicker the string. The beginning student should use medium or light gauges. The extra-light gauge is hard to keep in tune , but is preferred by rock guitarists because they are easy to bend . The heavy gauge is harder to push down but stay in tune longer. CARE OF THE GUITAR

Be careful not to expose your guitar to rapid temperature or humidity changes . This could crack the wood or the fini sh of the guitar. Do not leave your guitar by a heater vent , open window , air conditioning unit, or in cars when the weather is very cold or hot . Gu itar humidifiers may be purchased which help to keep the humidity inside the case of the guitar relatively stabl e . Waxing the guitar helps keep the moisture in the wood of the instrument . Most mus ic deal ers carry special guitar polishes , however, any good fUrniture poli sh will do. It is a mistake to loosen the strings of the guitar when travelling very far distances. More damage can result by loosening the strings than by leaving them t ight.

TYPES OF GUITARS

CLASSIC GUITAR - This guitar is characterized by its nylon strings and its wider neck . The nylon strings give it a mellow sound. The neck is wider so the strings can be farther apart . With the strings farther apart , this guitar is played more easily with the fingers of the right hand than with a plectrum.

FOLK GUITAR - This guitar is an acoustic (not electric) guitar and has a narrower neck than the classic guitar . The narrow neck makes some chords easier to play . It is a very popular guitar because many styles of music may be played on it . The strings on it are made of steel. Its neck has a metal bar or "truss rod" buried in the middle and running the length of it. This bar reinforces the enables it to withstand the pull of metal strings.

7 JUMBO FOLK GUITAR - This guitar is simi lar to the folk guitar. Its body is larger than the standard folk. 1'his larger body gives the guitar a fUller sound. The jumbo folk, like the standard folk, is a flat top guitar. This means the face or front of the guitar is flat.

The beginning guitarist should use the Folk , Jumbo Folk , or the Classic guitar. These guitars are inexpensive and will suit the needs of the beginning student.

8 ARCH TOP GUITP~ - This guitac' is called ' arch top ' because the front and back are curved . Rather than having the round sounding hole , its sounding holes are in the shape of an "f. " The "f 11 holes give the guitar a less resonant sound. It uses metal strings. It was popular in the late ' 40 ' s and early ' 50 ' s and was used with the big bands . It gave a percussive sound and was used primarily as a rhythm instrument.

TWELVE STRING GUITAR - The body of this guitar is similar in size to the Jumbo Folk . It has twelve metal strings . The strings are grouped into pairs, six sets of two . The chords are fingered the same as they are on a standard six string guitar, except two strings instead of one string are pressed down with one finger. The first and second sets are tuned i n unison while the third, fourth , fifth , and sixth sets are tuned in octaves.

9 HOLLOW BODY ELECTRIC - This guitar is similar to the arch top guitar. It has ' pickups ' (devices which are magnetic and transfer the sound of a string to an amplifier) in the center of the fro~t of t he gui tar . The hollow body electric has a more mellow sound than does the solid body electric . It is usually preferred by Jazz guitarists .

SOLID BODY ELECTRIC - This guitar has a wide variation of tonal color . The ' cut-a-ways' in the body of the guitar enable the player to reach higher not on the neck. I t is designed for speed. "Rock" guitarists usually prefer this guitar because the notes sustain than they do on the hollow body guitar. It does not 'feed back' as easily as does the hollow body , so it is possi to turn up the volume on the amp .

10 HOLDING PCSITI ON

The guitar should be held so it feels comfortable to you. The sitting positi on is the best and the most comfortable position for the beginning student . Both feet should be on the floor and the waist of the guitar should rest on the right leg . The neck of the guitar should extend to the left. The body of of the guitar should be tilted slightly toward your body. Be careful not to let the neck of the guitar t i lt downward . The right arm should come ar ound the body of the guitar so the right hand is placed over the sounding hole . This is the standard folk sitting position.

When playing classical music , the hol ding position for the guitar is slightly differ ent . The waist of the guitar rests upon the l eft leg and the neck is held higher than in the folk sitting position .

11 LEFT H ~~D POSI TI ON ...... ,_

The left hand should be placed on the neck of the guitar with the thumb straight up and down. The thumb should be placed between the 1st and 2nd fingers on the opposite side of the neck. The thumb should never be held parallel to the neck. Be carefUl not to bend the thumb or wrap it around the neck of the guitar . The palm of the hand should not touch the neck.

The tips of the fingers should be used when pushing on the strings . Bend the fingers so the knuckles form a square. Place the 1st finger over the string next to the fret . The fingers should never be placed on top of the fret . Placing the finger on top of the fret deadens the sound. Placing the finger too low in the fret will cause the string to buzz .

12 RIG'lT Hf.l\i) P:JSITION

The right hand should be placed over the sounding hole of the guitar. The wrist should P~ve a slight bend in it so the fingers are slightly behind the thumb when the,y are touching the strings. The second and third finger s of the right hand should be relaxed but should not be curled into a fist-like position.

Pick the first string open (open means there will be no fingers on the left hand pushing on any of the strings). With t he thumb, pick the first string down (pick means the action of stroking a string). Now, pick the se c or~ string open and t hen the third string open. ~epeat this action on all six strings.

13 If the plectrum is used, it should be held finger so its point is a imed towards the strings. The lst finger should be bent forming a square. The 2nd and 3rd fingers should extend downwarl and may r est upon the pickguard. Be careful not to hold the pick too tightly.

When 'finger picking, ' a combination of the tips of the fingers and the nails should be used. Do not stroke the string with just the tips of the fingers or just the nails. When stroking, the tip of the finger should strike the string first, then the tip of the nail should strike the string. These actions should be so rapid that it sounds as if they are striking the string at the same time .

14 PLECTRUMS (PICKS)

a b

Picks come in many shapes and thicknesses. It is suggested that beginning students use the medium size and medium thickness pick (fig. 3) . Large and thick picks are hard to control. They seem to grab when stroking the string rather than bend with the stroke . The smaller and larger picks (fig . a , fig . d) are also hard to control . The thick picks are becoming more popular because you can not only pick softly with them , but they can be used to pick harder and produce more volume than the thin picks. Finger and thumb picks produce a very brillant tone . The beginning student will find them hard to control . The thumb (fig . f) and finger (fig . g) picks are used primarily in folk music and are not recommended for beginning students. If you wish to finger pick let your fingernails on your right hand grow about 1/16 of an inch past the end of your finger . Use a combination of the skin on the tip of your finger and your fingernail to stroke the stri ng. The tip of the finger strikes the string first and is quickly followed by the fingernail striking the string . e This action takes place so rapidly it should sound as if the string is struck once. FINGER NAILS

The fingernails on your left hand should be kept short. The nails of your right hand should grow to 1/16 of an inch past the end of your finger. If your nails are soft or continually breaking , you can use fingernail hardener on them . The nails of the right hand should not be jagged , but filed smoothly and rounded slightly.

f g 15 Try an exercise called "walking t he boards," Pick the first stli.ng open; then, pick the first string whil e the first finger of the left 1and is in the first fret; ne xt, pi ck the first string while ~he second fi~ge r of the left hand is in the second fret; pick the first st~ i ng while ~e third finger of the left hand is in t he third fret; and finally, pick t he first string while t he fourth f i nger of the left hand is in the fou r~ fret. Repeat this exercise in reverse. Now , repeat this exercise or strings two and three, !-lake sure your finf( ers on t he left hand are

While doing this exercise be sue your thumb remains stra:sr.t up and down on the back of the neck of the guitar,

When picking t he strings on the guitar, you should not stroke t he strings away from the guitar or int o the hole of the guitar, The pi cki ng action should be a combination of the thumb, the plectrum (if used), the wrist, the elbow, and the whole arm.

If clear tones do not result when picking the strings , several :hi ngs could be wrong:

1, You may not be pushing hard enough on the strings 2, Your finger may not be against the f ret correctly. J, Something may be wrong with the guit ~ r. A. The bridge may need adjusting. B. The neck may be warped, c. The nut may be set too low. TUNING THE GUITAR

There are several ways to tune the guitar. One of the simplest and

most effective ways is to tune the guitar to itself. By that I mean, if

you have a piano or a pitch pipe, tune the first string of the guitar to

E above middle C. Then put a finger in the fifth fret on the second string

and pick the second and the first strings together; they should sound the

same. If they do not, adjust the string which has a finger on it until the

two strings match. (See diagram below.) l l!e~ lttu Piano Keyboard

E B G 0 A E

1st 2nd 3rd 4th ":&= string string string string 5th ~ string 6th string TUNING PITCHES This note should sound the same as the first string open (without a finger on it).

When the second string is in tune place a finger in the FOURTH fret on t he THIRD STRING . Pick the third and the second strings toget her. If they do not sound the same, adjust the third string or the string with a finger on it. When these two strings sound the same match the fourth string to the third by placing a finger in the FIFTH FRET on the FOURTH STRING and match it to the third . The process is then repeated in the fifth fret on the fifth string and matching it to the fourth string. Put a finger on the SIXTH string on the FIFTH fret and match it to the fifth string. (See diagram on the fol-

lowing page) 17 After all of this is done, strum several chords and see if the chords sound in tune. If they don't sound quite right, repeat the process and if it still does not help something may be wrong with the instrument itself. The frets may be misplaced or the bridge of t he guitar may need some adjusting. If so take the instrument t o a qualified repairman or to an instructor and let him adjust the instrument .

. You may also tune the gui t ar t o a piano or to a pitch pipe or to a tuning fork. If this method i s used then tune the first string open (without any fingers on the string) to E above mi ddle C. The second string is tuned to B just below middle C. The third string to G below that B. The fourth string to D. The fifth string to A and the sixth string is tuned to E.

E tuning forks may be purchased . Tap the tuning fork and touch it on the body of the guitar. Th e sound which resonates will be the pit ch you match to the first string.

18 One of the mo st popular varieties of guitar playing i s to strum chords.

Strumming chords can be used to accompany singing or to accompany another

instrument. Chords (on the guitar) can be defined as three or more strings

strummed at the same time.

Strum all six strings down with the right thumb. Be sure to do this

quickly so the strings are heard together . DO NOT strum with an outward

stroke. Pull the thumb straight down across the strings. When using a

pick, the same downward motion is used. The strum should be a combination

of the movements of the wrist, elbow, and thumb.

! H-+-+--+-1 2.1-+-t--t-+-t

3 1-+-t--t-+-t This is a chord diagram. It is a drawing of the guitar neck. The horizontal lines represent the +'ref 5 • The vertical lines represent the Shi~Js.

3 The dots indicate where to place the fingers. The ourved line underneath the diagram shows how many of the strings should be strummed. All of the strings may not be played on many of the chords. The numbers indicate the fingers to be used.

19 Learn the se chords (simple versions of the same chords are on top}. Practice stl"WIIII1illg each chord several times and changing from one to another. Try the more difficult chords as soon as possible.

QW\

4 4~1 ...... I ,.._ ...... -,;.. 3 ~ F:: t-3 z. - -~ "

20 These two marks are called st~~m bars. They both indicate that a chord is to be strummed one t i ·, e, down . They may be I( used interchangeably,

Practice the following exereise, Try not to pause between the chord changes . 6 C G E"" 0 C D C:, 1111 1111 tl//1111 /Ill /Ill /Ill /Ill

The following pieces are called rhythm sheets, A rhythm sheet is a song which has only the lyrics and the chords written above them . I f the music is in 4/4 meter (time signature which a9pears at the beginning of a piece), each chord is to be strummed ~· our l imes down. If it is in J/4 meter, ~ ach chord is to be strummed three times. If a chord name appears twice in a row, the strum pattern (four strums for 4/4, three strums for J/4) is to beo nop•ated, Here are three examples:

DOWN IN THE VALLEY

G II/ G G G D D J/4 1, Down in the valley valley so low. Hang your head 2, Build me a castle forty feet high. So I can ), Write me a letter send it by mall. Send it in

D D D G o--ver hear the wind blow. see him as he rides by. care of Birming ham jail,

HE 1 S GOT THE WHOLE WORLD IN HIS HANDS

DIll/ D D 4/4 1, He's got the whole world in His hands He 1 s got the 2, " II little bitty baby etc. J. " you and me brother etc,

~ ~ D whole world in His hands, He's got the whole world

D ~ D in His hands, He's got the whole world in His hands. He's got---

21 HOME ON THE RANGE

G G c c 3/4 Oh give me a home where the buffalo roam , G A7 D7 Where the deer ·and the antelope play , D7 G G C C Where seldom is heard, a discouraging word G D7 G And the skies are not cloudy all day . G D7 G Home, Home on the range G G A7 D7 Where the deer and the antelope play , W G G C C Where seldom is heard a discouraging word , G D7 G And the skies are not cloudy all day.

MY BONNIE G c G 3/4 My Bonnie lies over the ocean , G G c D My Bonnie lies over the sea D G c G My Bonnies lies over the ocean G c D G G Oh bring back my Bonnie to me. G G c c Bring back , bring, back, D D G G Oh bring back my Bonnie to me , to me . G G c c Bring back, bring back, D D G G Oh bring back my Bonnie to me.

Try to eliminate the pause which often occurs between chord changes.

Also practice singing while you strum . Practice the chord changes even

if the melody is not fam iliar to you .

22 When strumming chords on the guitar, the guitarist is usually interest-

ed in the meter (number of counts or beats per measure) of the song and the

number of chords there are in a measure. A measure i s the distance between

the vertical black l ines on the staff (a staff consists of the five horizontal lines).

ME,t\51JBE

The number of counts per measure is indicated by the time signature

(the numbers at the beginning of the piece). Beats are divisions of time

in music. The top number shows how many beats ar e in a measure, the bottom

numb er indicates what kind of note gets one count.

In this examp l e , ther e are four counts per measure.

In this example, there are three counts per mea sure.

If you are pl aying the chords to a song in 4/4 met er, you should strum down four times in each measure . The chords to be strummed are written above the measures . If no chord appears above a measure , repeat strumming the chord of the preceding measure.

23 If the song is in 3/4 meter, you should strum t hree times down in each

measure.

Try the following example:

c; Ill/ e~ll/1 c. Ill/ D ///1 c:, !Ill I~ ~ I t I I

This type of strumming can become boring, so other "strum pat terns" can

be used. n This sign indicates that a chord is to be strummed down. v This sign indicates a chord should be strummed up. To strum up, one must bring the f i rst finger or pick, if used, up quickly across the first three or four strings. NEVER STRUM ALL OF THE STRINGS

UP, NO MATTER WHAT THE CHORD IS. The 'up' strum is done with an upward and

outward motion (away from the body). By combining these strums , several

interesting rhythms can be played.

Try the fol lowing to get the feel of strumming down and up:

El¥\ D c 0 II: nvrwnv 1'\vnvnv nvnvnv nvnvnv ~vnv n v :II

: ~ This is a repeat sign . It means go back t o t he same s i gn 11: and pl ay that portion again. J This is a quarter note. It gets one count if the time signature has a 4 as t he bottom number.

This is a strum bar which also gets one count. It indicates a ( chord is to be strummed one time down. Jl This is an eighth note. It gets 1/2 count. Two of them together n v n equal one count. This is the equivalent strum marking for the eighth note. It indicates that the chord is to be strummed down on the first half nvnu of the beat and up on the second half of the beat.* {ij This indicates three strums to a beat (strum down, up , down). lf you are tapping your foot to keep the beats even , the down strum

occurs when your foot is down and the up strum comes when your foot is up.

Try the following : c; D 6 E({J(J f ( ( C(( (((((( C((((

When counting eighth notes, you should count the first note as one,

two, three four, etc. and count the second note as 'and.' See example :

, I l I l ~ ( ( [ ( r f(~ , ( ( I ( (f CC I 2 3 'i I 2.+ 3 'i aI + ;t !+ l.f+

* The following strum patterns are grouped according to meter. They will provide interesting accompaniments for many pieces. The signs above the strum

bars indicate which direction to strum. The dashes represent pauses in the

rhythms . The strum patterns are listed in order of difficulty. ~l aster one

strum pattern before moving on to the next pattern.

*These rhythms are very elementary, but for the purposes of this book, they are adequate.

25 Th1 ~ • s d t 1 f- When : ~ · onnect~ t wo s trum pat terns, t he second strum l S nnt tl h ~ r1"yed. The f irst strum is hel d through the time value of the second strum.

~dtterns tor 4/4 meter: (note that each strum patt ern t akes one measur e t o complete)

n nvnnvl l'lnvnvnv ([-( ([[ (~l(ff~ ?& rr I ({((((((

Patterns for 3/4 met er· nv n n n n n n n v n n n v n v n ((( (C( ( (« LY (CC( ( I l3 tZ.-+3 I :l.• 3~

Try the fol l owing examp l es:

c ( ({( ( D G- I [ c (C{ ( D(Cf(

n 1\Y vnv kt-t G((fl.((f c.

26 The strum patterns for 4/4 meter may be used to play any song that is in 4/4 meter. The same is true for the 3/4 strum patterns and songs that are in 3/4 me ter.

Try the following tunes using strum patterns for 4/4 meter: (See the Song Section of this book)

This Train , p. 3 She 'll Be Comin' Round the Mou ntain, p. 8 Worried Man Blues , p . 4 He ' s Got the Whole World, p. 12 Michael Row the Boat Ashore , p . Jingle Bells , p . 16 Amazing Grace , p. 7 Shenandoah , p. 20 Oh , Sinner Man , p . 23 John Henry, p . 27

Try the following tunes using strum patterns for 3/4 meter: (See the Song Section of this book. )

When Johnny Comes Marc hing Home , p. 1 Down in the Valley , p . 14 Silent Night, p . 2 My Bonnie , p . 18 Clementine, p. 10 A Poor Wayfaring Stranger, p . 19 On Top of Old Smokie, p . 13 Home on the Range, p. 26

If you do not know a chord in a particular piece , find it on the following Chord Reference Sheet.

NOTE: All of the pieces listed form the Song Section should be pr~cticed with the simple strum patterns first. If the book is used for group instruction , all of the students should play the same strum pattern with the song. Then they may use which ever strum pattern they are capable of doing. This allows each student to progress at his own rate of speed. The students may play the same song in class using different strum patterns as long as the patterns fit the correct meter .

27 CHORD Rli:FD\ENCE SHEET

SEVENTH CHORDS When two chords appear in one measure the counts must be divided. In

4/4 meter if there are two chords per measure, strtun each chord down 2 times.

In 3/4 meter find which chord gets the majority of the measure and strtun that

chord 2 times and the other one once, ( n ) or n v n instead of

2 times down. See examples.

Note that you are not concerned with the notes ( ~ ) on the music but

only the chords and the measures .

Practice the following from the song section: (You may also wish to prac-

tice songs from sheet music or music books, to supplement the ones in this

text.) You are My Sunshine, p. Kum Be. Yah, p . 24 Tom Dooley, p . 11 Cripple Creek, p. 25 When the Saints, p. 9 Streets of Laredo , p. Red River Valley, p. 17 It Came UpOn a Midnight Clear , p. 15 Oh, Suzanna, p. 21 Scarborough Fair, p. 28 Aura Lee p . 22 Later on if there are two chords per measure you may want to strum n v n each chord (( ( A more ccmplicated method of strunnning two chords per measure would be:

In 4/4 meter, strum the first chord ( ( and the second chord (/ ( You may also strtun the first chord (( ( and the second chord ( (.,( In 3/4 meter, the first may be strwliii:ed ( and the second C{ {f

Another type of accompaniment which is usually heard in folk music , but will also apply to other styles, is the alternating pick- strum or alternating bass.

ALTERNATING BASS

Perhaps you have noticed by now that there are 3 basic categories of chords according to how many strings may be strummed. Those (for example, G) 29 in which all 6 strings may be strummed . 5 string chord (Am) and 4 string chords (D). If a song is in 4/4 meter the lowest note of the chord is picked then the chord is strwnmed; then the next to the lowest str ing is picked (in that chord) ; the11 the chord is strummed. This completes the

counts. The following l.S known as the alternate bass method.

Try the following example :

(Numbers indicate the strings to be picked)

D ~ c ~ c 6 '(s( D'i ( S"(

Try the following songs from the Song Section using the Alternating

Bass f or 4/4 meter :

This Train , p . Jingle Bells , p. 16 Worried Man Blues, p. 4 Oh, Sinner t-1an , p. 23 Michael , Row the Boat Ashore , p . 5 John Henry, p. 27 She ' 11 Be Com in' Round The Mountain, p . 8 He ' s Got the Whole World , p. 12

The alternating bass may be divided when two chords are in a measu:-e . For example : G c jto ( 5 (

For 3/4 meter the lowest string i n the chor d i s p i cked fir st then ~hE: chord is strummed twice' or pick n v n Try the followi ng example:

G " (( E"' "a

(continued on next page)

30 nv n p .-•a c o, IY ( II t ij I I

Try the following songs fro:n the Song Section using the Alternating Bass for

4/4 am! 3/4 meters:

When Johnny Comes Marching Home , p. 1 Silent Night, p . 2 Clementine , p . 10 D~..-wn in the Valley , p. 14 Home on the Range , p. 26 When the Saints Come Marching In, p. 9 Tom Dooley , p . 11 Oh , Suzanna , p . 21 Kum Ba Yah , p . 24 Cripple Creek , p. 25

31 More complicated alternating bass patterns for 4/4 meter include n II' n v P (( P C{ per measure . P represents a single string picked, usuallr

the lowest followed by the next to the lowest strings in the chor d .

Try the same songs as you did for the alternating bass patterns for

4/4 meter.

Example :

FINGER PICKING

After you feel comfortable doing the alternate bass patterns you are

ready to move on to one of the most popular types of accompaniment in foL

and popular music , that of finger picking . The flat pick is not used in

this style. We will begin with what is corrunonly referred to as the Travi:

Style finger pick in which the thumb and first two fingers of the right hmd

are used . The position of the right hand should be tilted slightly so vh•n

the fingers pick up and the thumb picks down they vill avoid running into each

other. See pictures in the first of the book. We will begin learning to

finger pick in 4/4 meter (four beats to the measure) .

Remember that on some chords you can strum 6 strings, some 5 and sam: 4 .

32 This is important because the pick patterns for each chord depend on how

many strings can be strummed.

The basic 4/4 pattern goes :

52435243 1 41324132

6-string chord 5- string chord 4- string chord

Each pattern takes one ccxnplete measure of 4/4 to complete.

The numbers in the measure indicate which string is to be picked . This

pattern should be practiced first alternating the thumb and the first finger,

then the proper fingering is thumb-2- tlrum.b- 1. See examples.

KEEP THE RHYTHM IN A STEADY EIGHT NOTE PATTERN (one and two and three

and four and). Rhytlun is indicated by stems on numbers; one stem means that

stroke gets one count ( 6); two numbers connected mean there are two strokes I or picks to a count ( 1J). This accompaniment pattern can be used in any song

that is in 4/4 meter. Try the following example: D

Try the following songs using a simple Travis Pick pattern: Thi s Train , p. 3 He ' s Got the Whole World , p . 12 Worried Man Blues , p. 4 Jingle Bells , p. 16 Michael Row the Boat Ashore, p. 5 John Henry , p. 27 She 1 11 Be Com in 1 Round the Mountain, p. 8 Oh, S i nner Man , p. 23 Each pattern takes one complete measure. Keep the rhythm steady . Be

sure the thumb alternates smoothly. Watch the position of the right hand.

If your wrist or hand or whole arm is bouncing when you pick, try mounting 33 the little finger of your right hand on the p i ck guard just below the first

string on the body of the guitar. This will stabilize your hand .

The proper finger ing for the basic Travis Pick is indicated :

T 2 T ITt! n - fingering T c TIT<'TI Ti'TITZTI 62436243 - strings 52435243 41324132

Notice that the fingering remains the same even though the string

order might vary. There are many variations of this style of picking. !'or

example , the first variation consists of leaving the second string to be

picked out and where that pick would have occurred , pause . {Notice the

rhythm - l 2&3&4&). I ll UU Example :

T TlT2Tl - fingering l <& 3& 4&- rhythm 6-436243 - strings 5- 435243 4- 324132

The proper fingering is indicated. The rl'.ythm is indicated on the

5- string example .

Try this style or variation of the following piece (notice this p i ck

style can be used for any song in 4/4 meter). Try the following exampl e

T" TITtTI

Try the following songs from the Song Section using v ariations of t

Travis Pick :

Worried Man Blues, p . 4 Michael , Row the Boat Ashore , p . He ' s Got the Whole World , p . 12 John Henry, p. 27

34 Other variations o:f the Travis (or three- finger style) picks are listed

below. Each one should be mastered before moving on to the next. Remember,

the numbers on the top indicate the order the string is to be picked; the

numbers on the bottom indicate the rhythm to be used . If only two numbers

appear on top of each other once in the entire pick sequence, this indicates

that two strings are to be played at the same time, and usually with the

thumb picking the lower note and the second finger picking the upper note.

6- String 5-String 4- String

6-436243 5- 435243 4- 324132

1 1 1 6-436243 5- 435243 4- 324132 1 2&3&4& T T1T2T1 j_ I U UU 1 1 1 6-43624 5-43524 4- 32413 ~ 1 2&3&4 T T1T2T

1 1 1 6-435243 5- 436243 4- 325132 1 2( 3( 4 T T1T2T1 I \.1 Ul 1 1 1 6-43524 5- 43624 4- 32513 1 2&3&4 T T1T2'Jl

1 1 1 646243 545243 434132 123&4& 'l'I'J'1T2 "u u 1 1 1 645243 546243 435132 123&4& TTT1T2

See example below:

G D C D, ~ R 't!\f&l \' '\t?J I *t ij~t&l ~~ USUY I~·~ tr111

35 Try these pick patterns on some of the songs in the Song Section in

4/4 meter.

This Train, po 3 Michael , Ro"W" the Boat Ashore , p. 5 1 1 She 11 Be Com in Round the Mountain, p o 8 Jingle Bells , p. 16 Oh , Sinner Man, p . 23 John Henry, p . 27

Do the basic 4/4 Travis Pick and then try the same pieces working you· way up to the more complex patterns.

If two chords appear in a measure , split their individua:!.. patterns in

half o Divide the rhythm so there are 2 counts per chord, such as

G c tl 6243 5243 I 6-43 5243 t-1 l 2& 3&4& I l 5243 tl 6-43 \ t 1 6 ~ 5243 I

Do the first half of the finger pick pattern and the second half of t1e finger pick pattern. You may also do the second half of each finger pick m each chord . See the following example:

G c

.JL 6243 5243 ~ l 1&2& 3&4& I _j_ D c '1 \ 4132 5243 Try I the following example: Try the following songs from the Song Section using the Travis Pick

with 2 chords per measure:

You Are My Sunshine , p. 8 'Vlhen the Saints Come Marching In, p . 9 Tom Dooley , p . 11 Red River Valley, p . 17 Oh, Suzanna, p. 21 Aura Lee, p. 22 Kwn Ba Yah , p . 24 Cripple Creek, p . 25

Occasionally chords such as D/C will appear. D/C means a D chord with

a C note in the bass , the lowest note to be played 1s C. It is ONE chord

name . It is fingered thus : ~ These chords have an unusual sound when strummed , Z.but if the proper f1.nger p1ck is used they add a very interesting effect.

Try the following. The special finger pick patter n for the chords with different notes in the bass are indicated by the chord name . The Travis or 3/4 picks may be used. These are the most popular chords with added bass """" (j~ (tt· t1lf~ l • 2. B"" D '\ \f'tl3JI

37 6 I c.

Try tue following examples :

D/c G

D G

c.. G

!3"" c C/!3 It m I I c I

38 FINGER PICKING - THREE/FOUR METER

There are als o many ways to do the finger picking style in 3/4 meter.

One cf the most com.'llon fi:1gcr--picks for 3/4 is outlined below:

6-String Chord 5- String Chord 4- String Chord

643243 432132

This is done with a steady rhythm , sounding "one and two and three and."

This i s the proper fingering.

643243 543243 432132 TT12Tl TT12Tl TT12Tl

Notice here again the fingering remains u nchanged . Try picking the following p ieces . (For review also try using the s trums for 3/4 on the following example : )

Di G l'trlt1F I

Try t he following songs frCIIl the Song Secti on :

When Johnny Come s Marching Home , p. 1

Silent Night , p 0 2 Clementine, p. 10

On Top of Old Smokie , p o 13

Down in the Valley, p o 14 A Poor Wayfaring Stranger, p. 19

39 Variations of the 3/4 pick are also possible ; some are below.

1 1 1 643243 543243 432132 1& 2&3&

2 2 (second finger) 2 2 1 1 643434 543434 432323 'I'l'lTlT 1&2&3&

Try the following pieces in 3/4 . (If two or more chords exist in a

measure together the rhythm of the finger pick may be divided equally

between the chords, or the finger p i ck may be stopped altogether and the

chords may simply be strummed).

Try the following example :

D E"" c; E"" C:>A I:"' II ~*41@~u I 'I 3 ) % ~ 3 I lij~gq I

Try the f ollowing songs fran the Song Section using 3/4 pick style

variations:

Silent Night, p. 2 My Bonnie , p. 18 Home on the Range , p . 26 Streets of Laredo, p. 6 It Came Upon A Midnight Clear , p. 15 Scarborough Fair, p. 28

40 STRAIGHT FINGERPICKING STYLE

Still another form of accompaniment in the finger picking style for

4/4 meter is the straight pick style. It is called the straight pick for

two reasons; the rhythm is an even eight note pattern and the fingers move

straight across the strings: Thumb, Thumb, first finger, second finger.

See example (note fingering).

6-Str ing Chords 5 String Chords 4- Striruz Chords

~ 64326432 54325432 1 43214321 1 ~ 1&2&3&4& TT12TT12

This style of finger picking is adapted to any slow piece in 4/4 meter .

It does not work well on fast, 1 bouncy 1 songs. If two or more chords appear

in a measure the pattern may be split in half.

54~2 \ If more than two chords appear in the measure , el iminate one or more of

them leaving no more than two chords in each measure. The same rule applies

if one is strumming 4/4 or 3/4.

Try the following example: c. D

u u u u u u u u uu Try the following songs from the Song Secti on :

Michael, Row the Boat Ashore , p. 5 Amazing Grace, p. 7 Shenandoah, p. 20 Aura Lee, p. 22

41 One variation of thi s pattern is to pick two str ings together at the first of each pattern:

~ 1 ~4326432 1 ~4325432 1

Remember, the rhythm should remain steady and the chord changes m~oot h and even.

Try the following example:

A"" I

Try the following songs from the Song Section using straight pier variations :

Kum Ba Yah , p . 24 Aura Lee , p. 22 Oh, Sinner Man , p. 23 Shenandoah , p. 20 Michael , Row the Boat Ashore, p. 5

42 CHORD CLOCK

This is a chord clock. It can be used in three ways :

1. It can be used to determine the number of sharps or flats in a given key.

2. It can be used to determine the basic chords in a key.

3. It can be helpful in transposing .

43 You can determine the key of a particular piece by looking at the ke y signature. The numb er of sharps or flats in the key signature determines the key the piece is written in. If a piece has one or more sharps in its key signature, it will be in one of the keys on the right half of the chorl clock . If a piece has one or more flats in its signature , it will be in 01e of the keys on the left half of the clock. For exampl e , the key of C wil l have no sharps or flats in its key signature. The key of G or Em wil l hav~ one sharp sign in its signature , the key of D or Bm will have two sharps in its signature, the key of A or Fltm will have three s harps in its s ignat1re, etc . Th e key of F or Om will have one flat in the signature, the key of Bb or Gm will have two flats in the signature, the key of Eb or Cm wil l have three flats, etc.

You can determine the s.ix basic chords in a given key by also using tle chord c l ock. To find the basic chords in a key, take the chord having the name of the key (key chord) and the first chords to the right and to the left of it. Those three chords and their related chords (chords on the inside of the c l ock will correspond with the outside chords) ma ke up the six basic chords in any g i ven key . For example, to find the chords i n the key of G, find G on the chord clock. Use the chords to the right and left of it (C and D) and their rel ated chords (a minor, b minor, e minor) to give you the six basic chords in the key of G. The chords would be G, C, D, Am, Em, and Bm.

This process can be very hel pful to the person who wants to p lay a piece by ear . If you want to play "Down in the Valley" without the use of music, choose the key you want to use . For instance, use the key of G. Yo u know that the six basic chords for that key are G, C, D, Am, Em, Bm. Start by singing the melody and strumming a G chord (mo st simple folk songs begin with the key chord); then, when it sounds 1 ike the melody you are singing conflicts with the chord you are playing, change to one of the other chords in the key. If you change to a chord that st i 11 conflicts, change to another chord i n the key until you find the one that sounds correct .

This chord clock can also be helpful in transposing. The easiest keys for the guitar are G, C, and 0 and Em, Am, and Bm. If you want to nake the chords in a piece simple, play the song in one of these keys. Suppose a piece is written in a different key and the c hords l ook like the ones i n the example below :

These chords can be made simple by :

1 . Changing the first chord in the piece to one of the simpl e key chords (G, C, D, etc.)

2. Findi ng on the chord clock the original first chord in the piece .

44 3. f.'ind ing the new chord on the clock that you are changing the original chord to.

4 . Seeing which direction and the number of steps you went to change the old chord to the new chord .

5 . Changing the rest of the chords in the p i ece the same number of steps and in the same directions as the firs t chord \Vas changed.

EXA/>1P LE:

Change the first Bb chord to a G chor d . Then, find Bb on the clock and notcie that we had to go four steps (counting the Bb chord as #1) to the right to get to a G chord. No w, we change the rest of the chords i n the piece four s teps to the right. Notice that the number of s t eps and the direction you change the first chord in the piece will determine the numb er of s teps and the direction you cange the rest of the chords . Shown below are t he original chords and the new chords to the e xamp le.

0'1 G E7 gl:.

The minor chords will change the same direction and number of steps but will r ema in on the inside of the clock . To transpose 7th chords such a s the F7 in the exampl e , find F on the clock, change it to the new chord (D), then, add the 7th to the chord name. The F7 is changed to a 07. The same principle applies to m7 , 9, 13, and other various chords .

Assignm ents using the chord clock:

1 . Transpose two songs from sheet music or music book to easy keys for the guitar . 2. Write one original song (just the chords). 3. Write out the l yrics to one familiar song putting the correct chord changes above the words (rhythm sheet). BAR CHORDS

Bar chor ds are so called because the first finger (bar finger) lays

acr oss all of the strings. These , when mastered , make it possible to play

vir tually hundreds of chords with very little hand movement . By s i mply

holdi ng the hand in one position and moving it up and down the neck one ::an

play 12 differ ent chords with one hand and f i nger formation or pattern.

Following is a chart enabling one to determine where and how a chorl

will be finger ed i n its bar position: G 3 5 I G G A B C D BAR FINGER :tl\• iilll\i ' liF·tif '":li~ 13th 7sus. dim. m9 6th

SECOND OR BOTTOM CATEGORY

0 2 3 5 7 8 10 12 A B C D E F G A

MAJOR minor 7th m7 maj . 7

46 categor ~ continued) ?JWJ> · C,~ ,....., -~·~~-~.,

There are still many chords possible on the guitar that cannot be played

in open position or in the bar chord form. Hovever , the patt erns on page

sheet vill enable you to play most of the chords in popular music .

To use the " bar chord chart" follow the procedure outlined belov:

There are two categories or groupings of bar chords: those that the 6th string names (on top) and those that the 5th string names (on bottom).

The numbers above the letter names indicate the fret that the bar finger

of a particular letter name chord can be found in and the various patterns

illustrate how the different types of chords should be fingered after the correct fret for the bar finger is determined.

For example, suppose you wanted to find a G7 chord . With the top category the G is played with the bar finger in the third fret and the formation for the 7th should be used. To sharp a bar chord move the complete chord pattern up one fret. To flat a bar chord move the ccmplete pattern down one

:'ret. C#m7 would be played in the ninth fret with the top grouping since

~ he C chords are found in the 8th fret . C#m7 may also be played in the fourth

:'ret using the bottom category and playing the m7 pattern ( - ) .

Bb9 may be played with the bar finger in the 6th fret and the 9th pattern m )with the top category, because B chords are played in the seventh fret and you move a chord down one fret lower to flat it. It (Bb9)

Itay also be played in the first fret and the other ninth pattern ( • using the bottom category. There are two different fingerings and positions to play the same bar chord. This nakes changing chords more convenient. 47 For example, if you are playing a piece with changes from a G to a

C very rapidly, one wou ld not play a G in the third fret and a C in the e i ghth

fret using the same pattern. This would be too awkward . It vould be better

to play G in the third fret and C in the third fret using the other category.

This wou ld make it possible to change much faster from G to C.

So you see it is possible to figure out a possible 252 different

chords using this bar chord sheet correctly. Try playing the following

piece with a few bar chords :

A A I

Notice how full and rich the bar chords sound compared to some of the open chords , because of the fact that all of the strings are being stn.m:ned .

Try this example:

(One wouldn't go from G in the third fret to Bm in the 7th, but ra1her

G in the third fret to Bm in the second fret . )

c. c D G

48 Finger pick or strum the foll owing example playing some of the

chords as bar chords :

~ '* D E"" p#-1>'1 G A' II rqi* :111

D B"" rff""7 G A7 D

A C-ll'"" 6"' E7 A i 4'i*§ II

f#M C"*'""7 D A

E C4f..., f".#M 67 II :t II g *''E G.#""7 (:,4t7 ~4t"'7 f~l¥\7 B7 E

Try some of the songs from the Song Section using bar chords in place

of some of the open chords in first position. Any chor d may be played as

a bar chord, but it is best to learn the open chords first. READING REPEAT SIGNS

This notation { .·II is called a repeat sign. When it appears in the music one should go back to where that sign appeared previously in the

piece and play that much of the song again. After repeating one should end

the piece or continue on.

12. These are first and second endings. The

~~~~~~~~~:§I~~~~~~~~~~~JII first time one plays through the piece he : should play the first ending

then repeat to the repeat sign. The second time through the piece one should skip the first ending I L :II and play the second ending 12 . The following notation ~ is also a repeat sign. When one plays the piece to this sign he should repeat to the same sign earlier in the

piece. Then one should play to the following sign:

TheM one should skip from this sign ( $ ) to the coda or ending of the song E& c.ooA ).

50 SONG SECTION

TABLE OF CONTENTS

When Johnny Comes Marching Home. .1 Silent Night ...... 2 This Train . . , ...... 3 Worried Man Blues. • 4 Michael, Row the Boat Ashore . 5 Streets of Laredo. . . .6 Amazing Grace...... 7 She' 11 Be Comin • Round the ~1ountain . .8 You Are ~ly Sunshine. .8 When the Saints . .9 Clementine . . . . 10 Tom Dooley . . . . 11 He's Got the \;hole World 12 On Top of Old Smokie . . 13 Down in the Valley ... 14 It Came Upon a mdnight Clear. 15 Jingle Bells ...... 16 Red River Valley ...... 17 My Bonnie Lies Over the Ocean 18 The Wayfaring Stranger 19 Shenandoah . 20 Oh, Suzanna 21 Aura Lee .. 22 Oh, Sinner Man 23 Kum Ba Yah . . 24 Cripple Creek . 25 Home on the Range. 26 John Henry . . . 27 Scarborough Fair . 28

When Johnny Comes Marching Home

When John-ny comes march-ing home a - gain, Hur- E"" J222f J J J J J rah, Hur rah When John-ny• comes c £7 J r !' r [' r f e rl rSJ marct - ing home a - gain, Hur - rah Hur - rah , If"' /)'>1 T?r r r I r r 1 r F r f r I r r The men will s ing and the boys will shout , the d"' E7 4'"1 I f r r f J r r r r r I r all la - dies t hey wil l all turn out and we'll E7 4"" E7 !'/"" .I .I cJ r r I ..1 I be gay w1 John-ny comes march - ing

home.

~ ~u,.•~,;. I20•1 V • n•.,.•l:!lo 0. g~••• 161·06" tole. 1'>11,~....0. Celli. 600- A Silent Night 2

G n4jfg II: f v r I r r r f Si lent night, Ho ly night D (:, c 00 ' t I r r r f r r All is calm All is bright , Round yon (:a c r v r r p r f r vir gin mother and ch1l.t d . Ho- ly G D t r r v r r t r f in - fant so ten - der and mild. Sleep i n D7 G f I t • D f' I r I r f I j' ; J hea- ven - ly peace Sleep' in hea-ven-ly G JQjJ II peace.

ADDITIONAL VERSE:

Shephe1 ds quake, at the sight Glories s tream from heave afar Heavenly hosts sing Alleluia Chr ist the Sayior is born This Train 3 Spiritual

/1 II~~ ~~~JOR c ~ .l§J~±~===!~ :::" E;-..: j E.L;>t. 3?' j 4\*l This train is bound for glo- ry, this train E7 r r r r r r r r - I-s This train is bound for g lo - ry, this train /1 I r i' r r •I J .IJ This train is bound for g l o-ry, Don 1 t ride none but the E7 I' F - J :J This train ts bo1md for g l o - ry

II Worried Man Blues

[) r J. ~ J r I r r f1' I p r r It takes a war- ried man to sing a wor - ried b r T r v ! (41) r r r r r lr r r r I song, It takes wor - ried wor - ried man to sing a wo r-ried ..D d. J. J· J r I r r I r y r r song . It takes a wor - ried man to sing a worried II' D r r f JJ r r r r I e song, I'm now But I won't be wor-ried long. II

ADDITIONAL VERSES: (3 times)

I went across tlte Tiwel", aRd lay do•.m tn 5 ! eep op my feet

3. Twenty-nine links of chain around my leg, And on each link, an initial of my name.

4. I asked that judge. tell me. what's gouna be mt fine? Tnent) e!'le ) eai 3 efl: the Reel~) Hetmtaifl bifle.

5. Twenty-one years to pay my awful crime, Twenty-one years - but I got ninety-nine.

!b e traJP arri,ed sdxteep coaches; long, lhe g1rl I l ove IS on that tra1n and gone.

7. I looked down the track as far as I could see, Little bitty hand was waving after me.

If 2nyone &honld 2&k yon, 11ho composed tb, s sang t ell h1m was I, and I s1ng 1f all day long. Michael, Row the Boat Ashore

b c J r tj u4;h r r v r r r r I Mich - ael row the boat a - s hore Al - le- lu (:, 8""' A"" 01 J £) cJ r r r f ~ r r r i a . Mich - ael row the boat a - shore Al - le - lu - G

i a.

c§:l ~~.. -~:it. 1)1)48 Vono.,.o fll•d. P~on o 1~1·061) N o. >1oii,~-. C ohl . 60 2- A Streets of Laredo

(!. ~ r r ~7 r C!. (:,7 4 v r I r r (' y r I r J J "4 As walked out on the streets of La - ra--do ~s c. (:,7 c. (;,7 c r ~ f' y l f r r r r v r r I ' I walked out in La - ra - do one day . I spied a yomg 67 c. (:,7 (:,7 C!.. • r r r r v r r J ..1 r r r I r r I COW - boy all dressed in white lin- e n All dressed in white linen md

(. (:,7 (. r r r r 7 II cold as the clay.

~ ~.. •, 1 , 110•1v ...... wl l• d. Pho"• I01·06U H • . 11 •11,~.....,. Coli! 100- A Amazing Grace

/1 0 J J 1 A - maz - ing Grace , HoY sweet the E B7 I I j IJ J J I s J_ t I r sound that saved £ I J_ l once was B? lost , but E no~ I am fou nd , Was

I J l] I J J I e I ~ b lind but see------8 She ' 11 Be Comin' Round the Mou nt a in G J j j Js I J J J J She ' ll be com-in ' round the mountain when she comes D LJ j J I r r r v r r J J I o,2±J She ' ll be com - in ' round the mountain '"'hen she comes 0 c r r I 1 r r v ; J :J J l11 J 1 I She ' ll be comin ' round the moun - tain , She ' 11 be com - in ' round th· G o-r 6 j j @tl J IJJJ.JX f J j J I B,£1 mountain She ' 11 be com-in ' round the mountain when she comes

You Are My Sunshine D G J J J I r r I i J f I J J You arc.my sun - shine sunshine

I t J J r I F E l r F F r I e- You make me hap - py When skies are gray You ' 11 1e - ver C G I r I' I F r F f r J2f J J J I know dear how much I love you Please don ' t D 6 r I J J r o.J3 J :II take my sun - shine a - way . When the Saints Come Marching In

~ :If 6 e "' e II+ ~ J -r t l r .I r r I I F J r r I Oh when the Saints come march- i ng in oh when the 1)7 6 0 J j H r J r ...... l .. d I J I Saints come march - ing in J want to be there bi c 6 r r r r I" l r r r r r in t hat num - her WR en t he saints come C!. !)7 6 J ,J I s,2£J II march-- ing in.

@ ::.._u,.•~i. lXl~a ~.-. .... !JI.d, "h~• 161·061! No. Holl,wood, Colli 600-A 10 Clementine

Gl j A 1: I l E1 I r J .J r r u In the ca-vern• in a can - yon Ex- ca - vat-ing :or a C':t D' ;I}J :Ej J ..[!I J f1 r r r I .I -~ I mine, Dwelt a min-er forty nin-er And his daugh-:er Cl em- in- 6 J .D ) J cr r J f"J r r tt I tine. Oh my dar-ling Oh my dar - ling Oh my dar - ling .:: I em-in- <:, D7 J:l £] (J r r J ~rJ J • tine , You are lost and gone for - everf dread-ful sor-Jry :!em-en- 11. (:I IZ: C:t I J n :I (J l I tine. Light she

ADDITIONAL VERSE:

Light s he was and like a fairy And her shoes were numtj¢7 m ne lfeit i'ug boxes wi thoat Lapses. Tom Dooley 11

fa c (:, J •1:) J J ! f .FJ J a Hang down your head Tom Doo-ley Hang down your head and

? $ J J J. JJ .I J] J £ ••I •f 3 J cry Hang down your head Tom Doo - ley Poor boy, you 1 re bound to (:a c ~ Gl ".I .I 1 J r r J J J J die . met her on the moun-tain There took her D., I e I ;l d. iJJ J • J - r l ife Met her on t he moun-tain There I took her <:a

l ife.

ADDITIONAL VERSES:

This time tomorrow, reckon where I 'll be If it hada' t Jeca fez St&)36I, I'd beer ifl: TeJu1essee

'J:hj E t. Reckon where I'll be Down in some lone seam valley, Hangin' from a white oak tree.

\§Y ~!'.. ·~~- 11UI Yo~t.,o !l l od p~.., . 161·061, No Holl,w<>O

~ 114~ :I f G I r r J r r tr tr He's got the whole world in his hands he'~ got the D""~ G ~ J t t ! ~ ~ r r r 8 ' whole world in his hands, he' s got the whole vworld Qi (:, r r rr G u r r J J II in his hands, he's got the whole world in his hands.

ADDITIONAL VERSES:

He ' s got you and me brother jn his bands lie's got you aud me brotliet. ill his hand lie' • got fOU a lid me bt othez , in his hands He's got the whole world in his hands.

He's got the wind and the rain in His hands; He' 5 got the SJID and the moon rjght jn His hands· He's got the Wl!ld and the xatu tn HiS hands lie's got the whole wotld Ill His ltauds

He's got the little bitsy baby in His hands; He 's got the tiny little baby right in His hands;

c. F g jf i II~ jj I :;t J J r· k A On top of old Smok ie Al l c (:, =! ;I J EJ :! J_ j J J cov- - ered with snow, lost my true l ov ~'7 c I ~ J ; Ml •' J I J . 1.): II er Come court - in' too slow ------

ADDITIONAL VERSE:

He sends you to your grave.

(§) ~",.·~~. !XI~I v •• ,.,.. a1.o1 Phe~e/61·061' No.Holl1 .. -.c.nt. 602- A 14 DOWN IN THE VALLEY

D II ~~ ij J r r Ill) r· r I 1}_ r r E4 Down in the val - ley val - ley so R, F' >?I f' J 1t r r E' I E' l ow Hang your head 0 - ver

II hear the wind blow.

ADDITIONAL VERSE:

Hang your head over Hear the wind blow. I t Came Upon a Midnight Clear 15

G c_ G C G J ]j I r J .. I J J I J J It came c... /17. I l J J j g l or -i-ous song of old From an - gel s c G c. G ~ D7 I J J J d IJ J lj IJlJ bend - ing near t he earth , to touch t heir harps o f G iF E"" I JJ1J I r ! I l ii ~J I eJ J gold Peac e earth good D wi 11 D~ I J r J J J I d. IJ J Fr om hcav 'ns a ll gra cious Kin~ The G (! G c (;, c I r J I J I j I J J I J wo r l d i n sol - emn still - ness l ay. To hear the D [J II gelJ s sing . Jingle Bells 16

(:, ;1 J r ;! J. JO I J r J J Dash-ing through the snow In a one-horse o - pen D, J ; r r 0 r r r J slei gh O'er the fields we go Laugh-ing a ll the J r J J way Bells on bob tails ring Mak - ing spir-i1s (. D J J I •I r r rr rr1rrrr bright What fun it is to laugh, and sing a s l eigh-ing :ong t o- r r e lrrrlrr.IJ Jin-g l e night bells Jingle bel ls jin-gl e a l l the c. G D 0 r r r I r rruirJJ way Oh, what fun it is to ride in a one-hor se, opel D G I J f r r r rrr lriJ J J s l eigh Jin-gle bells jin-gle bells jin-gle a l l t he c 6 Q"7 I r r r r r rrulrr r J way Oh , what fun it is to ride in a one- hor se o- pen

sleigh. 17 Red River Valley

R D =l J J ! d. 11$ ¥§ •I .. II: f r r L From this val - ley they say you arc· go"-in g II (37 j J J (' r I J r r r I e I 'f ~ I will miss your bright eyes and sw c:!t smil P. For thev R D 1' r r J r r r r 01 say you are tak- ing the sun-shine That R {;7 /1 D fl.. R I J .. r e r r [J J :II bright - ens our path- way a- while. k R

ADDITIONAL VERSE:

But remember the Red R1ver Valley And the girl ~;ho has loved you so true. 18

My Bonnie Lies Over the Ocean

I r J J I J J J I ,~6£ J .1 I r J J I bonnie lies over the sea My bonnie lies C G C :lver j L I J 1 ~ 2 j J J

bonnie to me • Bring G back, bring D J I(!) J J J I J J J I J J I r· i back, Oh bring back my bonnie to me, to me. c D d. J I J J J I~JJJ IJJJI Br~g back bring back, oh bring back my bonnie t• I El2£J. II me. 19 A Poor Wayfaring Stranger

E"" I l(l J lr=fTR o t __ nJJ l'm just a poor way - faring stran~ A travlin ' B 7- ! 1 J E"" ~ ::J :) =II ~,~! lr-==-j~ cJ~ through this world of r l ___ fl dan - ger In that bright world to which I go . I ' m going 11":--.. r r r J FJ I t« r F f I there to meet my Father __...... __...,. I'm going there no more to !:"" 3 F Dl l l l l I I ouI'm just a going Jordan I'm just a J go 1.ng over home. Shenandoah 20

D d 1 I rJ Oh, Shen-an-doah, long to hear you, A - G D 8"" r=J:l JJ I@')ft .. >~ J u way, you roll-ing riv-er. Oh Shen-an-doah I long to ]) J d d. hear you, A- way , we ' re bound a- way, • Cross the 8,., .D J. J J J II wide Mis sou - ri. ADDITIONAL VERSES: 2 . The white fiiB:H leu eel tRe h teliaR maielen,

With notions h1 s canoe was l aden, Away, we ' re bound away , ' Cross the wide Missouri.

3. 0. Slieuaudoali, I lov e roar daughter,

I'll take her ' cross the rol l ing water, Away, we' r e bound away ' Cross the wide Missouri.

II Shenandoah I 1 m bound tO leave YOU

0, Shenandoah, I' 11 not deceive you , Away, we ' re bound away, 'Cross the wide Missouri.

~1'1 :"~",.·~ ~ . !2048 v . ~ ..... 11!..1, P~•~• /6Hl615 >lo, lo1oiT,.•M, Colli, 602- A 21 Oh, Suzanna

D :111: 11 I J .J ..I ) J .I J J j J Well, I come from Al- a - bam- a with my ban-jo on my 117 D 1'17 I J al, JJ r J J I j IJJJJ knee. I ' m go in' to Louis-i an - a, •My true love for to G D J 0 r e rl JJ J J a see. Oh, Suz an - a Oh, don ' t you cry for A' D IF J J J J .lj r J~IJJJJ.I me. Cause I come from Al - a - ba - rna with my ban-jo on my D

knee. 22 Aura Lee Ba l bd

f\1 07 II ~"c •• ~ J J J J J eJ ..1 J J J As the Black-bird in the spring, 'neath the wil-low G R., D., I o I J J J J J J d I J J J .t tree Sat and piped, I heard him sing in 1 praise of Au - ra 6 e"~ €.WI I r r e f r e r J J J Lee . Au - ra Lee, Au - ra Lee, Maid of gold- en £' 117 D7 r r r r J J J J I j J r J hair. Sun- shine came a long with thee and swa !-lows in the

air. Oh , Sinner ~1an 23 Spiritual

E.v.

II J J I j (~-w ~ r 9 r Oh sin-ner man, where you gon - na to; D ,I J ,I J ,l J 0 F Oh sinner man, where you gon-na to E""' J J r 8 r r r Oh, man, where you gon to, D E'"'

All on that da ~

ay.

3. Run to the sea, the sea was a-boiling, (3 times)

All on that day.

6. Run to the Devil, Devil was a-waiting, (3 times) All on that day. 24 Kum Ba Yah

{! F c. 3 J j J J 0, II~ ~ J J El.Jt I; ...... 1J I Kum bah yah my Lord, Kum ba yah . Kum Ja /)""' J J J.£L) J j f j ....L yah , my Lord. Kum ba yah . ...__.- Kum ba (!. F J J EJ .2f J •I J yah, my Lord. Kum ba yah. Oh C!. (:,? c. .I II J:. ,____...... IJ J J -& Lord Kum ba yah .

ADDITIONAL VERSES: 2. Someone ' s crying Lord, Kum ba yah. 3. Someone's singing Lord, Kum ba yah. 25

Crippl c Creek Traditional

D G D r r ;I J ; r r r J J Just put on a brand new suit," I lair-cut, shave and A7 D (:, D .,I J J r r J J J r A I r r J I shine to boot . Dia - mond stick-pin i n my tie , See you la-ter A' .D 0 (:, j ..I J JJ • tl ~ J' J =t folks , good-bye . Go-ing to Crip-;le reek, No t for swim-mi "J"''""- D £' IT' .D E. .JJ ) f J ..1 ..J r:' J J FJ J1 Go-ing to Crip-ple Creek h ere ' s why, Down by Crip-ple !:reek a- j) (:, 11' D 4F ,I ..1 J J J rg J ~ j J II mong some wo-me-n me t the ap-ple of my eye. AQDITIONAL VERSES:

8 c as fat a1 d: One was somewh ere 1n between, Took one l ook a nd I got weak, By the banks of Cripple Creek.

Gonna me et her, cheek to cheek, In the church by Cripple Creek.

V~ ;!'~.. ·.o::. !:xJOIVofto.,.o8!•d• "~"" " 161-~!) No. ~.~~, ~ •""· c.t.t. 602- A 26 Home on the Ra nge

c. J e JJ J r r f u Oh give me a horne wh e re the buf - fa -1 o roam , Wher e t he ~ D1 r ;s J A. deer a nd the a n - te - l ope play-, \Vh cr c scl - dam is c. D7 r j r r rJ .. )' 2 I J J J I heard a dis- cour - ag - ing \VOrd And the s kies are not c loud-y all D1 I.J II r r r= I r JJ day. Jlom c, home on the r ange Wh ere the E"'~ 1?7 ])1 ~ \ .I .l J ;t J J. j<>l J \) j J deer a nd the an - te - lope p l ay \'(h ere sel - dam is c \ f £1• l I r r f u ~ .. ,, J heard a dis - cour - ag -ing wor d And the ; ies are not 1)1 C:a ..1 .I J J f cloud-y a ll day .

tYAi7l) :,_u,l~~. I:Ki oe v . ~ , ... !11.4, P~ono161 · ~1i No, t1eii, . .... ,C.Iol, 602-A 27 John Henry

A 1 3 I: J' J n n 1 j'£ John Henry lit-tle boy £:7 II. :l J 11 I l :J J' r r r I r 0 - picked up a hammer and a Sit-tin' on his - my's knee He r r r r JD r r J ] J J little pi ece of steele, Said this hammer be the death of me Oh Lord, This E7 11 Ffr r J :II ham -mer death of me.

tBBITISNA

Gonna bring my steam drill round Watch that smoke roll out its stack While it drives that cold steel down Lord Lord

3. NOw JUhti Henry Sa1d eo the captain A man ain't no thin' but a man Before I let that steam hammer beat me down I 11 d i e with a liaJtUUEl i ii my hand LUlU LOid . . .

4. John Henry went on the mountain He looked on the other side

h¢ dlPd I Clrd I rir d

5. Now they buried John in the gr ave yard Six feet under the sand 2P. Scarborough Fair arr. by Mike Christiansen

E"" D E"" ll' l~"g II: J j e r <.\ . J2Q .....___ d Are you going to Scar -bor-ough Fair? G E"" (::t R E"" 1 r r e r r #: r J r I'F Par - s l ey, sage, rose - rna r y a nd thyme G D r r r r J J I J. I - Re mem - ber me rto 1 who lives ther ~ E""' D E....._ j ..__..I J. J r a ;tI J J J I Sh e once was a tTue love of mine:------'

ADDITIONAL VERSES:

Tell lit: I co make me a crunox ic shlt c Parsley sage, rosemary and thyme Without no seams nor needle work Then she ' 11 be a true love of mine .

Pars I ey sage rosemary and fhyme ee t ween the sat c water and the sea strands Then she ' 11 be a true love of mine.

Te l 1 her to reap j t w j th a s i ck J e afJeathei:. Pa t sley sage. r osema r y and thyme Aud ga the r it a ll iu a baucl1 of heather Then she ' 11 be a true love of mine.