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Magazine

Volume 16, Number 3 March/April 2012 Jake Stargel Julian Lage Zeb Snyder

1 Flatpicking Guitar Magazine March/April 2012 “I love the longevity that I get out of GHS Strings. They outlast any string I’ve tried. Top that off with the tone and brightness they contain and I have it all. You may have a good sounding instrument, but GHS Strings will make it sound better!”

Bull Harman

GHS Corporation 2813 Wilber Ave. Battle Creek, MI 49015 www.bullharman.com 800/388-4447. fax 800/860-6913 ghsstrings.com

2 Flatpicking Guitar Magazine March/April 2012 3 Flatpicking Guitar Magazine March/April 2012 4 Flatpicking Guitar Magazine March/April 2012 1 Flatpicking Guitar Magazine March/April 2012 CONTENTS

Flatpicking FEATURES

Jake Stargel & “Stymie” 6 Guitar Schenk Guitars 25 Flatpick Profile: Julian Lage & “Red Prairie Dawn” 26 CD Highlight: Zeb Snyder: “Goose Down Pillow” 54 Magazine Store Visit: Smoky Mountain Guitars 62

Volume 16, Number 3 COLUMNS

March/April 2012 The Girl I Left Behind 14 Published bi-monthly by: Craig Vance High View Publications Bluegrass Rhythm Guitar: The 6th Chord 16 P.O. Box 2160 Joe Carr Pulaski, VA 24301 Beginner’s Page: “I’m On My Way Back to the Old Home” 17 Dan Huckabee Phone: (540) 980-0338 Kaufman’s Corner: “Waiting For a Train” 19 Fax: (540) 980-0557 Steve Kaufman Orders: (800) 413-8296 Taking It To The Next Level: Bluegrass Guitar Ensembles 22 E-mail: [email protected] John Carlini Web Site: http://www.flatpick.com Sharpening the Axe: A Horizontal Approach, Part II 24 ISSN: 1089-9855 Jeff Troxel Floaties & “Angeline the Baker” 31 Dan Miller - Publisher and Editor Kathy Barwick Connie Miller - Administration The O-Zone: “Lorena” 34 Jackie Morris - Administration Orrin Star Contributing Editors: Dave McCarty “Wild Bill Jones” 37 Chris Thiessen Dix Bruce Improvisation & “Key West” 42 Subscription Rate ($US): Mike Maddux US $30.00 ($60.00 with CD) Flatpicking Fiddle Tunes: Sandy n’ Salt 45 Canada/Mexico $40.00 Adam Granger Other Foreign $43.00 Flatpicking Up-The-Neck & “Stuck in the Kitchen” 47 Bill Bay All contents Copyright © 2012 by Eclectic Acoustic: Tango Derrane, Part 4 49 High View Publications unless John McGann otherwise indicated Bluegrass Guitar: More Essential Bluegrass Guitar 51 Reproduction of material appearing Steve Pottier in the Flatpicking Guitar Magazine is Things I (Acidentally) Did Right 53 forbidden without written permission Dan Crary Find “Your’ Voice 59 Printed in the USA Kacey Cubero Scale Practice: Major Pentatonic & Major Blues 60 Kacey Cubero

Reviews 63 DR Dragon Skin Strings

2 Flatpicking Guitar Magazine March/April 2012 The Flatpicking Essentials Series

Flatpicking Essentials Volume 1: Rhythm, Bass Runs, and Fill Licks In the “Pioneers” issue of Flatpicking Guitar Magazine Dan Miller laid out a flatpicking learning method that followed the chronological development of the style. This step-by-step method started with a solid foundation in the rhythm guitar styles of flatpicking’s early pioneers—a style that includes a liberal use of bass runs and rhythm fill licks, combined with rhythmic strums. Volume 1 of the Eight VolumeFlatpicking Essentials series teaches this rhythm style and prepares you for each future volume. If you want to learn how to add interesting bass runs and fill licks to your rhythm playing, check out this 96-page book with accompanying CD. This book and CD are available in spiral bound hardcopy form, on CD-Rom, or as a digital download. Hardcopy: $24.95 Digital: $19.95 Flatpicking Essentials Volume 2: Learning to Solo—Carter Style and Beyond The second book in the Flatpicking Essentials series teaches you how to arrange solos for vocal tunes by teaching you how to: 1) Find the chord changes by ear. 2) Find the melody by ear. 3) Learn how to arrange a Carter Style solo. 4) Learn how to embellish the Carter Style solo using one or more of the following techniques: bass runs; hammer-ons, pull-offs, slides, & bends; tremelo; double stops; crosspicking; neighboring notes; scale runs and fill-licks. Even if you are a beginner you can learn how to create your own interesting solos to any vocal song. You’ll never need tab again! This material will also provide you with the foundation for improvisation. This book and CD are available in spiral bound hardcopy form, on CD-Rom, or as a digital download. Hardcopy: $24.95 Digital: $19.95 Flatpicking Essentials Volume 3: Flatpicking Fiddle Tunes Flatpicking and fiddle tunes go hand-in-hand. However, in this day and age too many beginning and intermediate level players rely too heavily on tablature when learning fiddle tunes. This becomes a problem in the long run because the player eventually reaches a plateau in their progress be- cause they don’t know how to learn new tunes that are not written out in tablature, they do not know how to create their own variations of tunes that they already know, and it becomes very hard to learn how to improvise. Flatpicking Essentials, Volume 3 helps to solve all of those problems. In this volume of the Flatpicking Essentials series you are going to learn valuable information about the structure of fiddle tunes and then you are going to use that information to learn how to play fiddle tunes by ear, and create your own variations, utilizing the following a series of detailed steps. Hardcopy: $24.95 Digital: $19.95 Flatpicking Essentials Volume 4: Understanding the Fingerboard and Moving Up-The-Neck

The fourth book in the Flatpicking Essentials series teaches you how to become familiar with using the entire fingerboard of the guitar and it gives you many exercises and examples that will help you become very comfortable playing up-the-neck. With this book and CD you will learn how to explore the whole guitar neck using a very thorough study of chord shapes, scale patterns, and arpeggios. You will also learn how to comfortably move up-the- neck and back down using slides, open strings, scale runs, harmonized scales, floating licks, and more. If you’ve ever sat and watched a professional players fingers dance up and down the fingerboard with great ease and wondered “I wish I could do that!” This book is for you! Hardcopy: $29.95 Digital: $24.95 Flatpicking Essentials Volume 5: Improvisation & Style Studies Are you having trouble learning how to improvise? To many flatpickers the art of improvisation is a mystery. In the 5th Volume of the Flatpicking Essentials series you will study various exercises that will begin to teach you the process of improvisation through the use of a graduated, step-by-step method. Through the study and execution of these exercises, you will learn how to free yourself from memorized solos! This Volume also includes “style studies” which examine the contributions of the flatpicking legends, such as Doc Watson, Clarence White, Tony Rice, Norman Blake, Dan Crary, Pat Flynn, and others. Learn techniques that helped define their styles and learn how to apply those techniques to your own solos.

Hardcopy: $29.95 Digital: $24.95 Flatpicking Essentials Volume 6: Improvisation Part II & Advanced Technique Flatpicking Essentials, Volume 6 is divided into two main sections. The first section is Part II of our study of improvisation. Volume 5 introduced readers to a step-by-step free-form improv study method that we continue here in Volume 6. The second section of this book is focused on advanced flatpicking technique. We approached this topic by first having Tim May record “advanced level” improvisations for nineteen different flatpicking tunes. Tim selected the tunes and went into the studio with a list of techniques, like the use of triplets, natural and false harmonics, note bending, quoting, alternate tuning, syncopation, twin guitar, minor key tunes, hybrid picking, advanced crosspicking, string skipping, etc. There are a ton of absolutely awesome flatpicking arrangements by Tim May in this book, with explanations of each technique. Hardcopy: $29.95 Digital: $24.95 Flatpicking Essentials Volume 7: Advanced Rhythm & Chord Studies Flatpicking Essentials, Volume 7 is a 170 page book, with 67 audio tracks, that will show you how to add texture, variety, and movement to your rhythm accompaniment in the context of playing bluegrass, fiddle tune music, folk music, acoustic rock, Western swing, big band swing, and jazz. The best part of this book is that it doesn’t just present you with arrangements to memorize. It teaches you how you can create and execute your own accompaniment arrangements in a variety of musical styles. Don’t rely on the arrangements of others, learn a straight-forward and gradual approach to designing your own rhythm accompaniment. Hardcopy: $29.95 Digital: $24.95 3 Flatpicking Guitar Magazine March/April 2012 Flatpicking Essentials EDITOR'S PAGE

Camps and Weekend Workshops

It might be a little chilly where you are right now, however, now is the time to start thinking about attending a camp or weekend workshop because those wonderful evernts will be here before you know it. Camps and weekend workshops are fantastic because not only do they allow you to meet and hang out with a great group of people who share a common interest, but they give you the opportunity to spend focused time learning, practicing, and jamming. It is like the immersion method for learning a language. That flatpicking immersion can give you the spark you need to take you to the next level! Here are some of the camps and weekend workshops that I plan on attending this year. For some of them I’m on the teaching staff, for others, I’m just going to hang out, help out, and pick! I hope to see some of you at one, or more, of these events:

St. Louis Flatpick Weekend — St. Lous, MO March 23 to 25 www.stlflatpick.com/ Upper Meramec Americana Music Festival — Steelville, MO May 17 to 19 www.simplefolkproductions.com/ Pagosa Bluegrass Camp — Pagosa Springs, CO June 5 to 7 www.folkwest.com/bluegrasscamps/ Camp Bluegrass — Levelland, TX July 15 to 20 www.campbluegrass.com/ Grand Targhee Music Camp — Alta, WY August 7 to 10 www.targheemusiccamp.com/

One Day Flatpicking Workshops

Tim May and I hit the road hard last year, teaching 60 workshops all across the country. We are not slowing down this year. We just finished a great workshop run in Texas and we will be touring the mid-west and east coast extensively this Spring. Please check out our workshop schedule here: http://www.flatpick.com/workshops.

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

4 Flatpicking Guitar Magazine March/April 2012 Now Available! Two New Biographical Books covering flatpicking guitar’s two most influential performers: Tony Rice and Doc Watson! Still Inside: The Tony Rice Story by Tim Stafford & Caroline Wright

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

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

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

Both Books are Available at www.flatpickingmercantile.com

5 Flatpicking Guitar Magazine March/April 2012 Jake Stargel

By the time Jake Stargel was about 15 Guitar Magazine back in January of 2008 the Beatles, Bob Dylan, Led Zeppelin, and years old, those who had heard him play the we reported on his background and talked much more. I had heard of these people, but guitar were already saying, “He is going to about some of his influences. Now that Jake I’d not paid much attention to their music. be the next Bryan Sutton.” I’ll have to admit has four more years of touring experience When I first really listened to the Beatles it that when I first heard Jake play at a show under his belt, the focus of this article will changed my concept of what good music with the Lovell Sisters in Atlanta back in be more about Jake’s approach to music and was all about. For me, it redefined great May 2007 I was thinking the same thing. the lessons he has learned on the road with lyrics, great chord progressions, and great Now, five years later, I am not going to say the Lovell Sisters, the Greencards, Barefoot, production.” that Jake is the “next Bryan Sutton” because Mountain Heart, and now Sierra Hull. With With the Greencards Jake was exposed there is only one Bryan Sutton. What I will those bands he has probably packed more to a lot of classic American rock, blues, say is that he has become “the Jake Stargel,” experience on the road in the past five years and folk music while the band was riding which is every bit as impressive, but just than most flatpickers are able to gain in ten down the road in the van. He also had the different. Jake has become a player of note to twenty years…and it shows in his playing opportunity to play a variety of different in his own right and comparisons to other and his approach. styles of acoustic music on stage. Riding players don’t do either player justice. You When we last reported on Jake five years in the van he discussed the music he was need to know about Jake Stargel because he ago he had just joined The Greencards. hearing with the other band members. is just that good and he is bringing his own When asked about his experience during On stage, he was given the freedom to sound to the flatpicking world, not because the three years that he spent with that band experience music that was more complex he is the “next” anybody. Jake said, “I was introduced to a lot of cool than what he had been playing previously. Jake’s guitar playing has always music. Before I joined the Greencards my “Every band that I have been with has been mature beyond his years. His way main exposure was country, bluegrass, and given me the freedom to improvise,” Jake of thinking about playing music and fiddle tune music. They introduced me to said.”I’d never worked up any solos. I’ve improvising on the guitar is also deeper than always been an improvisational player. The what you might expect from a 21-year-old. by Dan Miller Lovell Sisters were a bluegrass band, so I When we first featured Jake inFlatpicking improvised in that context. The Greencards

6 Flatpicking Guitar Magazine March/April 2012 played music that had different chord Another aspect of improvising that Jake about getting myself out of the way.” Jake progressions and different moods. I enjoyed started focusing on just before leaving the said that he has spent time reading books working with the Greencards because their Greencards is phrasing. He said, “Phrasing about techniques that other musicians way of looking at music was different. Kym is an awesome tool. There is an endless have used to help quiet the mind and sites (the Greencards’ mandolin player Kym amount of work that you can do with Victor Wooten’s book The Music Lesson: A Warner) helped me understand other kinds phrasing.” For phrasing ideas Jake likes Spiritual Search for Growth Through Music of music and how they relate to each other.” to listen to fiddlers, like Stuart Duncan, and Kenny Werner’s Effortless Mastery as When asked if his approach to improvising singers, sax players, piano players, and a two that have been helpful. solos changed during his time with the variety of other instruments. He said, “I try A focus on phrasing in improvisation has Greencards, Jake said, “When I look back not to always go to the typical sources. The also made Jake aware of the importance of I see that my improvisations have moved most exciting part of improvising is when listening to music as much as possible. He through several stages. When I was younger something comes out of your subconscious said, “Today I listen to music way more I would learn licks and patterns from other that you have heard before, but you’ve intensely than I ever have before. I don’t just players. I found moments in their playing never played before. You don’t consciously let the melody flow over me. I try to hear the that I thought were cool, I learned those remember it, but it just comes out of your pitches and the difference in the pitches and licks, and then I learned how I could fit instrument during a solo. That kind of I try to feel it. I find that listening intensely them into what I was doing. At that point my moment feels magical and is the reason helps enhance that musical high that pulled approach to improvisation consisted of me music is so addicting. Your brain can take me into music in the first place. If I can hear playing my ‘bag of tricks’ over some chord in so much more than what you can focus the music and perceive it in a way that lets changes. As I grew, I started to focus more on at any moment. If you can find a way to me enter the mindset of the person who is on my sound. I got into a tone thing where access that stuff that is in your subconscious, playing it, then I can carry that mindset into it was all about my sound and how I fit into it is always a great surprise.” my playing. If I can understand listening and the mix with the other instruments. Towards Jake said that the key to being able hearing and translate that into playing, then the end of my time with the Greencards I to tap into the music that resides in the something cool can come into my playing. began focusing on playing more melodically subconscious is to learn how to get the It may be a state of mind that I’ve not and expressing my solos like you would thinking mind out of the way. He said, experience before, or maybe I experienced sing them. I was trying to tear down any “When you can stop thinking, you can open it, but did not place any importance on it barrier that there was in my playing between that well.” When asked about how he can get until I was able to achieve something that singing and soloing.” his mind to “stop thinking” Jake said, “The could only be achieved in that mind set.” When asked if it was difficult to move healthy way to do it is through meditation Two other important aspects of Jake’s from pattern playing into melodic playing, practice. If you can take 15 minutes and get musicianship and approach to music are Jake said, “It kicked my butt everyday! your mind as quiet and blank as possible, positive attitude and constant change. When Every time that I picked up my guitar I then go out and play, or just live life, asked about his positive approach, Jake thought, ‘If I had to play one line, what was everything is so much more about doing said, “I think a lot of people are addicted going to make up that line?’ Was it going and not thinking. I’m always conscious to a negative, self-destructive mindset. to be just a pattern, or was it going to be something that I could sing? When I was able to pull off a solo that sounded like I was singing, everything that I was playing could be felt through the music. The solo was the song and it felt more natural than just playing patterns over the changes. I think that sometimes patterns are necessary and I still used them, but now I don’t neglect the melody.” Jake continues, “I always wonder what my playing would sound like now had I not started out learning patterns and licks. When I started, those patterns and licks were my vocabulary. Now I think about what my playing would sound like if my vocabulary had of been major and minor scales instead. When I was younger it was much more exciting to learn a Bryan Sutton lick than a scale. Scales felt boring to me because they didn’t sound like anything that I wanted to play. Today I’m learning scales and modes Jake Stargel (far right) on stage with Mountain Heart, and I read about music theory so that I can plus guests Tony Rice and Terry Baucum, at the grasp the concepts.” Red, White, and Bluegrass Festival in Morganton, NC in July 2011

7 Flatpicking Guitar Magazine March/April 2012 band sound better. He said, “It is a scary and selfless thing when you say, ‘OK, I’m not going to worry about me, I’m going to worry about the whole. There is a nakedness to it. But when you can do it, the overall music goes way higher than if you just worry about yourself and your own solo. With a band like Mountain Heart it was easier to do though because everyone was working towards the same goal and you know that the other guys have your back.” When asked about having the experience playing on stage with Tony Rice, Jake said, “It was kind of surreal the first three or four shows. I freaked out that it was Tony blasting in my in-ear monitors. I was always amazed by how relaxed he was. He likes when things are fresh and there is good energy. We hardly ever rehearsed with him. When he was feeling good, he’d sometimes take a solo for five minutes. When he played Jake Stargel on stage with Mountain Heart, July 2011 longer like that, it was magical. Backstage we talked a lot about jazz music and jazz They thrive on being negative and making boxcars of a train. In order for the motion to musicians. He likes listening to Coltrane themselves feel bad about themselves and move forward, everyone in the band needs and I remember him telling me that I should about their playing.” Music educators have to be on the same page and move forward check out the Eric Dolphy solos on Coltrane shown that thinking positively about your together. There is a difference between recordings.” musical abilities can be the single most technically fitting in the time and just being At the end of 2011 Jake left Mountain important factor in making improvements. in the groove with the band. The groove is Heart and joined Sierra Hull’s band. He said, If you think you can’t do it, you probably alive and it has to breathe. The timing can’t “I had wanted to play with Sierra for a while. will not ever do it. If you think you can, then be like a machine. If it is, then the groove I had heard that she was looking for a guitar you probably will. usually suffers.” player and we got together for a practice and Regarding the concept of change, Jake As a member of Mountain Heart Jake it felt really good. I wanted to join her band said, “I always like to switch things up.” had the opportunity to play with Tony Rice not only because it is a new and different This attitude led him to leave the Greencards six to eight times per year as the Tony thing, but because the musicians are all after nearly three years with that band Rice and Mountain Heart show. Jake said, about my age. Also, she is young enough and, after a very short stint with Barefoot, “People say that Tony Rice has metronomic that she is still shaping her music and I get join the rockin’ bluegrass group Mountain timing. After playing with him I realize that to be a part of that. The other bands that I Heart. Jake said, “Barry Abernathy had been he doesn’t think that way. He views the joined already had their sound. She is still calling, so I went to try out for the band and time like a train that is moving forward. making her musical path and it is exciting got addicted to the rhythmic energy.” Jake Sometimes the train speeds up and slows to be involved in that.” joined Moutain Heart in 2009 and stayed down. Today many bluegrass bands are Regarding Jake’s joining the band, Sierra with them through November 2011. When recording with a click track and thus have said, “I first met Jake when he was about 15 asked what he learned during his time with this machine-like timing. If they do that, or 16 years old and was absolutely floored Mountain Heart, all of Jake’s answers had to they will never sound like the Bluegrass by how good he sounded. I didn’t know of do with rhythm, energy, and groove. Album Band. I talked with Mark Schatz many, if any, guitar players around my age Jake feels like his ideas about timing about that band and he said that they never that could play like that. He’s only gotten and groove changed after he began playing discussed timing. They allowed the timing better and better since, and I’m so thrilled to music with Mountain Heart and credits the to be a natural thing. There is a popular finally get to work with him full-time now! band’s mandolin player, Aaron Ramsey, misconception that metronomic timing is a Jake has always been someone that I thought for helping him along those lines. He said, good thing. To me it is lifeless. When all of I would love to be able to play in a band “The way I approached rhythm and fitting the members of the band desire to keep the with. He has amazing musical sensibility, in with the band changed in Mountain Heart groove a unified thing, then the groove has which is really important when playing in because instead of just fitting in with the a life of its own, and it sounds natural, and a band. Hearing him play makes me only timing, I learned how to fit in with the band. the energy it creates is exciting.” want to get better, and I think that’s the ideal Before I was so sensitive about being From his experience with Mountain band member in many ways—someone that flawless with my timing that I neglected Heart, Jake’s soloing and improvisation also makes you want to grow!” the fact that the whole band needs to move moved on to another level. He said that now Incidentally, Seth Taylor (who replaced forward at the same rate of speed, like the his efforts are focused on making the whole Jake in Mountain Heart) was someone who

8 Flatpicking Guitar Magazine March/April 2012 first inspired Jake to start seriously studying the guitar. Jake recalls, “Back when I was about 11 or 12 I went to a Brad Paisley concert. During the show Brad called this little kid up on stage to pick a tune with him. It was Seth Taylor. He performed with Brad Paisley and he wore it out. I had never seen anyone who was about my age play like that. I had just started playing the guitar and seeing Seth play on stage with Brad Paisley really inspired me. That memory stayed with me.” Although he has owned and played several guitars over the years, most recently Jake has been playing a 1967 Gibson Country and Western that belonged to his friend Austin Wilder’s grandfather. He said, “I was over at Austin’s house one day and picked up this guitar and started playing it and instantly fell in love with it.” For our audio CD Jake plays that guitar on an Jake Stargel on stage with Sierra Hull at the arrangement of “Stymie” that he learned River City Music Festival in Portland, Oregon, January 2012 from Georgia banjo player Joe Kimsey. Even though he is only 21 years old, Jake Stargel has packed a lot of miles on the lifetime of music in front of him and we will, pleasure following his career over the past road and has already had more performing no doubt, continue to see him on stage with five years, and we look forward to hearing opportunities than many flatpicking guitar the most prominent bluegrass and acoustic the music that he will continue to produce players have in a lifetime. He still has a music acts in the country. It has been a in the future. Camp Bluegrass 2012 For year 26 of Camp Bluegrass at South Plains College in Levelland, Texas, the camp will celebrate Bill Monroe’s centennial, July 15-20, 2012! There are several special activities planned. Three of Monroe’s former Bluegrass Boys will be on the faculty. Roland White (guitar, 1967-69) will teach mandolin, Jim Moratto (banjo, 1973-74) and Monroe’s last fiddler. Robert Bowlin (1993-96).

Special activities include: • Monroe Concert Night – All Monroe Songs – All Night! Featuring the entire faculty. • Monroe Story Telling Session – Inside stories from people who were there. • Video presentation on Monroe’s career. • Workshop on Monroe’s Mandolin Style by Joe Carr, author of Play Like a Legend: Bill Monroe Tunes and Songs for Mandolin. • “Tunes Bill Monroe Taught Me,” – Robert Bowlin teaches tunes written by Monroe but never recorded. This Year’s Staff includes: Guitar: Tim May, Dan Miller, Eliot Rogers. Banjo: Bill Evans, Alan Munde, Jim Moratto. Mandolin: Joe Carr, Steve Smith, Roland White, Gerald Jones. Fiddle: Robert Bowlin, Nate Lee. Dobro: Tim McCasland. Vocals: Dee Dee Wyland. Bass: Jon Weisberger. Songwriting: Wil Maring Check out http://www.campbluegrass.com/ Celebrating the Music of Bill Monroe

9 Flatpicking Guitar Magazine March/April 2012 Stymie Audio CD Arranged by Jake Stargel Track 3 Transcribed by Alois Kleewein G G B7 B7 q = 220                                

2 3 3 3 3 6 5 4 3 2 2 3 2 2 2 2 3 5 3 3 3 3 4 4 4 4 4 4 4   0 2 4 4 4 4 4 0 0 2 2  

Em Em F/G F/G C 6                                          

2 0 5 3 2 0 2 3 5 2 0 0 1 1 1 1 5 1 0 4 4 4 0 0 1 1 3 1 0 3 1 1 1 2 2 2 0 0 0 2 2 

A7 G G Bb D4 D 11                                    0 1 1 3 3 2 2 2 2 2 3 1 1 1 1 1 0 0 3 4 0 0 0 3 3 3 0 0 2 2 3 0 3 5 5 0 3  

G G G G B7 16                                    3 0 2 3 3 3 3 6 5 5 3 2 2 3 0 3 0 3 5 3 3 3 3 4 4 4 4 3 2 0 0 2 4 4 4 4 4 0 0 0 

B7 Em Em F/G F/G 21                                

2 2 2 2 2 0 5 3 2 0 2 3 5 2 0 0 1 1 5 0 3 1 0 4 4 4 4 4 4 0 0 1 1 3 1 0 1 3 0 2 2 

10 Flatpicking Guitar Magazine March/April 2012 Stymie (con’t) C A7 G G Bb 26                                      0 1 1 1 1 1 2 2 2 3 1 1 1 0 0 0 0 0 0 3 4 0 0 0 3 3 3 2 2 2 2 3 0 3 5 0 3 3  

D4 D G G A7 A7 31                                            3 3 2 2 3 0 3 3 1 1 0 3 0 3 4 5 7 5 4 5  0 0 3 2 0 0 0 0 2 4 5 5 7 7 5 4 5     

Fmaj Fmaj A7 D7 G 36                                               2 3 0 4 5  5 6 5 4 5 4 5  7 7 0 3 0 2 2  5 5 5 0 0  5 5 3 2 3 3  3 3 3 3 4 5  5 7 7 7 0 0 0    

G A7 A7 Fmaj Fmaj 41                                             

0 4 5 7 5 4 5 4 5 5 6 6 5 4 5 0 2 0 2 2 2 5 5 5 5 0 0 3 4 4 5 5 7 7 5 4 5 3 3 3 3 3 3     

A7 D7 G G G 46                                             2 3 0 2 3 7 3 3 7 3 4 5  7 7 0 3 0 3 5 3 3 0  5 5 0 3 2 0 0 2 4 4 5  5 7 7 0 0 0 0    11 Flatpicking Guitar Magazine March/April 2012 Stymie (con’t) G B7 B7 Em Em 51                                       

3 3 7 3 5 2 5 2 5 2 5 2 2 2 7 7 3 3 4 4 4 4 4 8 8 10 8 8 8 7 7 0 9 9 9 7 9 

F/G F/G C A7 G 56                                 4 5 6 8 6 3 0 1 1 2 2 3 0 7 5 4 5 2 0 0 0 2 2 0 3 2 7 1 0 2 2 2 2 2 0 0  3 3 0 4

G Bb D4 D G G 61                          3 3 6 3  2 3 6 6 3 3 5 0 0 2 4 6 5 3 3 5 5 3 4 0 0 0 2 4 5 3 0 0 2 0 0 3 1 2 0 1 2  3 

G G B7 B7 Em 66                                    

3 3 3 3 6 5 3 2 2 3 2 2 7 5 6 5 5 3 5 3 3 3 3 3 6 5 3 4 4 4 4 4 5 5 4 4 4 4 4 4 4 2 0 

Em F/G F/G C A7 71                                          2 2 3 5 2 3 2 1 1 3 1 0 0 3 3 3 1 3 1 1 1 2 2 2 0 2 0 0 0 0 0 0 2 0 2 2 2 2 2  3 3

12 Flatpicking Guitar Magazine March/April 2012 Stymie (con’t) G G Bb D4 D G 76                                   1 3 3 2 2 3 0 3 1 1 1 3 0 3 0 0 3 4 0 0 0 3 3 0 2 3 3 2 3 2 3 0 3 5 0 0 3 0  

G A7 A7 Fmaj Fmaj 81                                                

3 4 5 7 5 4 5 4 5 6 6 5 4 5 0 0 0 0 2 2 5 5 5 5 0 2 4 4 5 5 7 7 5 4 5 3 3 3 3 3 3 3  3    

A7 D7 G G A7 86                                          3 0 4 5 6 6 6 7 7 8 5 3 5 3 0 3 4  5 0 4 5 5 4 0 2 0 4 5 6 6 6 7 7 4 4  5 5  0 0 0 

A7 Fmaj Fmaj A7 D7 91                                          1/2    7 5 4 5 4 5  5 6 5 4 5 4 4 5  7 7 2 2  5 0  5 5 0 7 7 5 4 5 3 3  4 5  5 7 7 7 0 0    

G G G 96                  2 3 0 0 3 0 3 2 0 0 0 0 2 0 

13 Flatpicking Guitar Magazine March/April 2012 Flatpicking The Girl I Left Behind Bluegrass by Craig Vance

I believe “The Girl I Left Behind” to have been written in the late 1700s, this tune also springs out of Ireland. I have heard this played primarily in G, however when looking to pair a tune to my drop D version of “Whiskey Before Breakfast,” I found this to work quite well. 800-413-8296

For a rather dreary title, the melody is fgmrecords.com bouncy and uplifting.

The Guitar Player's Guide to Developing Speed, Accuracy, & Tone

by Brad Davis & Dan Miller

Learn How To Improve: • Right and Left Hand Mechanics • Right and Left Hand Efficiency • Volume, Speed, & Tone • Note Accuracy and Clarity • Overall Smoothness and Fluidity

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

flatpickingmercantile.com flatpickdigital.com 800-413-8296

14 Flatpicking Guitar Magazine March/April 2012 Audio CD The Girl I Left Behind Track 4 Arranged by Craig Vance

D G D A 1 # # 4 Ó Œ œ œ . œ œ œ œ œ & 4 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 0 3 2 0 2 2 3 2 T 2 2 0 2 2 A Ó Œ 0 . 4 0 2 4 2 0 0 0 2 4 2 4 2 0 2 0 4 0 0 B 0 .

D G DA D D 6 2 # 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 œ œ œ œ œ œ œ œ œ 2 2 2 2 0 3 3 2 3 3 S 2 2 2 2 4 0 2 4 2 0 0 0 4 2 0 2 0 0 0 . 0 0 2 4 2 0 4 4 0 0 0 0 0 0 0 . 0 0 0 D A 11 # # . œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ & . œ œ œ œ œ œœœ œ œ œ œ œ

0 0 2 3 0 S 0 0 2 3 3 5 2 232 2 2 2 0 2 2 . 4 0 224 0 . 0 D G DA D D 15 2 # œ œ # œ œ œ . Ó & 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 2 2 2 0 3 3 S 2 2 4 0 2 4 2 0 0 0 4 2 0 2 0 0 2 4 . 0 Ó 2 0 4 4 0 0 0 0 0 .

15 Flatpicking Guitar Magazine March/April 2012 œ œ œ œ œ œ#œ œ Bluegrass Rhythm Guitar H.O.

0 0 2 0 by Joe Carr 0 1 2 3

The 6th Chord below (G6 low) with the E note voiced at measure of four beats. Try this out with a the 2nd fret of the 4th string. The intervals simple song like “Take Me Back to Tulsa” Here we are starting a new year, year in this chord are (from low to high) 1, X, 6, and you will soon get the right feel. 16 for Flatpicking Guitar Magazine! This 3, 5, X. This shape takes some getting used The second sixth shape has its root on column has presented chords in the past, but to, but soon your fingers will fall into the the 5th string. Start by playing a basic open this year I want to concentrate on one chord shape and the muting of the fifth and first A minor chord. With the little finger, add type each issue. This time we’ll look at an strings will be effortless. To make the chord, the root (C at the 3rd fret of the 5th string). important major chord: the 6th. start by putting the second finger at the 3rd With a little creative finger placement, you The 6th chord is a required sound in all fret of the 6th string. In this shape, the root can learn to mute the 6th and 1st strings sorts of swing music from big band to Gypsy of the chord is on the 6th string. in this shape. With these two sixth shapes, jazz, cowboy music and western swing. As To get the swing sound, you must play you should be able to play any sixth chord mentioned above, the 6th chord is a major rhythm in the long-short syncopated pattern you need! chord made of the 1st, 3rd, 5th and 6th notes of swing music. On beat one, squeeze the In this series, I plan to present at least of the major scale. This chord can be used G6 chord explained above and let it ring. two forms of each chord, with roots on the anytime a major chord is indicated and you On beat two, strum the chord and quickly 5th and 6th string. Having two forms of want a “swingy” sound. A good musician release pressure on the fretting fingers. The each chord available will allow you to find will use their ear to determine when to use it. result will be a quick “chop” of the chord a “close by” shape without long fret jumps. While the 6th chord might be a poor choice with no after-ring, similar to bluegrass Your resolution for 2012 should be: “Learn for “Blue Ridge Cabin Home,” it might give mandolin rhythm. Repeat to fill out a two forms of every chord I know.” just the right feel to “Your Cheating Heart.” Let’s look at a barre form of G major 6th at the 3rd fret. Many guitarists play the 6th note (E) at the 5th fret of the 2nd string. To my ear, this form (labeled G6th high in the diagram below) is used a lot in cowboy swing, but I don’t hear it played often in other musical styles. I much prefer the form

6th String Root x x x

3 3

G6 high G6 low

5th String Root x x

C6

16 Flatpicking Guitar Magazine March/April 2012 GcdgcdgcdgcdBeginner’s Page gcdgcdgcdgcdby Dan Huckabee

I’m on My Way Back to the Old Home I have a DVD called “Understanding the that were borrowed from the masters. I had Formula of Music Makes it so Easy.”) banjo ideas for power and drive, I had fast Designing a flatpicking bluegrass guitar Next I decided that if I listened to impressive fiddle runs, I had elements of solo is a puzzle. You may be thinking “that’s more people, I’d have a larger selection my personal accumulated skills, and some the understatement of the year!” Since I just of ideas to choose from, and that it would unexplainable lucky accidents. And as this minute finished designing this solo for be more difficult for my listeners to notice Voltaire put it: “Originality is nothing but “I’m On My Way Back to the Old Home,” that I was “stealing.” I listened to versions judicious imitation.” I’ll describe the process that I just went by the Bluegrass Album Band, by Peter Think about this process and don’t through while it’s fresh on my mind. Rowan, and by Jim and Jesse. Everyone be afraid to try it, but at the same time, The first thing I did was to find the had different ideas, and I started trying some have reasonable expectations regarding melody notes on my guitar (as they sound of my favorites. This became a puzzle as I the outcome. Otherwise, add this solo to when someone sings it). The next thing I stated earlier, but trial and error along with your repertoire, and take one day at a time, did was to choose a 3-note kickoff. This the process of elimination, was working in because this is one of the most popular was easy because I already know lots of my favor. songs in bluegrass music. If you have any kick-offs from other solos. But we all have After all the smoke cleared, I had a new questions, feel free to give me a call at 800- to be taught some solos before we can just sit work of art that started with a foundation of 543-6125 and check out our ads in the back down and make up our own from “scratch.” the original melody, and elements of phrases of this issue. Since I already know other songs, I’m not actually working totally from scratch. The next thing I did was to instinctively embellish the melody with added notes and licks that I knew from past experience. That turned out OK, but it wasn’t very polished. In other words, faking a solo in a jam session is not going to be as good as a solo that you spend an afternoon developing. After about 15 minutes of experimenting, I decided to seek inspiration from recordings of the masters. I listened to Bill Monroe’s recording first, and I focused on the fiddle break and the banjo break. I think the banjo really gives this tune its power, so I made a mental note that I wanted to use some banjo licks in my creation. I thought the fiddle had a great hot-lick in the final turn-around ending, so I tried that part out on the guitar. At this point, I felt like I was going to be able to incorporate both power (banjo licks) and speed (fiddle licks) that would dazzle my audience. Then I listened to how the fiddle stated the melody very simply in the beginning, but he gave it harmony (two notes played together), to make it stronger. So I tried adding some harmony notes to the plain melody that I had previously picked out. (This trick requires some harmony theory knowledge; if you need help in that area,

17 Flatpicking Guitar Magazine March/April 2012 Audio CD On My Way Back to the Old Home Tracks 6-7 Arranged by Dan Huckabee G C 1 # 4 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ & 4 Œ œ œ #œ #œ œ œœ œ œ œ œ œœ œ œ œ œ œ œ œœœ œ œ 3 œ œ œ œ œ H S 3 3 3 3 3 3 3 3 3 3 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 1 2 2 3 3 3 3 3 0 0 0 0 0 0 0 0 1 1 1 1 1 1 T 2 4 4 4 4 2 0 0 0 0 0 2 002 0 A Œ 0 2 2 0 B 3 3 G D 6 # œ & œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ nœ #œ œ œ œ œ œ œ œ œ œ œ 0 0 3 0 0 0 0 0 0 2 2 2 0 2 0 2 4 2 0 2 0 2 0 2 4 3 4 0 2 3

G C 10 # nœ œ œ œ œ œœœ œ œ œ & œ œ œ œ œ nœ œ œ œ nœ œ 3 œ œ œ œ œ œ œ œ œ #œ H œ 1 1 1 1 1 1 1 0 2 3 3 3 3 33 3 0 0 2 2 0 0 2 0 0 2 0 2 0 2 3 3 2 2 1 3 3 2 3

G D G 14 # œ œ œ œ œ œ #œ nœ & œ œ œ œ œ œ œ œ œ œ œ œ œ #œ œ œ nœ œ œ #œ œ 0 0 3 0 S 0 2 0 2 3 2 0 0 H H 0 2 2 0 2 0 0 0 2 1 2 2 0 0 1 2 3

18 # œ œ œ œ œ ˙ œ œ œ œ œ ˙ Ó & œ œ œ œ œ œ ˙ œ œ œ œ œ ˙ 3 3 3 3 3 3 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 Ó 2 2 2 2 2 2 3 3 3 3 3 3

18 Flatpicking Guitar Magazine March/April 2012 Kaufman’s by Steve Kaufman Corner Waiting For a Train

Hi friends, and welcome back to my eighth is a dotted eighth and the second is corner of the magazine. I was cruising the a sixteenth note. internet the other day and came across a guy The guitar yodel begins at the end of playing this tune and thought about what a measure 16 with the up swing on the E or classic it is. I heard Doc do this one years 2nd fret 4th string. Use the second finger ago and was fascinated by the guitar yodel from the 2nd fret all the way to the 5th fret. (measures 17-20). Then the third finger goes to the 2nd string This tune is in the intermediate level and while the second finger remains on the 4th should be a nice addition to your repertoire. string. These notes will ring out and have If you play this song already, you can gleam plenty of sustain this way. The lick is mostly a few nice vocalized licks as well. all second and third fingers as it moves back Start this tune with an up-swing. Why? down to the C with a really nice ending run. Because it begins with a “+” beat, and “+” beats are always (99% of the time) with an Enjoy and let me know how it treats you. up-swing because it is an up-beat. See you at Kamp in June Measure 4: A quick hammer on into a Bye for now, triplet set. Listen to the recording. It’s kind Steve Kaufman of like a triplet Lester Flatt run. Now on iTunes There are many tricky left- and right-hand Old Time and Traditional Week: June 10-16, measures in this solo but they are all marked 2012 either for fingering or pick direction. Play Bluegrass Week: June 17-23, 2012 it slowly and smoothly. Play with a swing www.flatpik.com bounce to the eighth notes. They are noted www.palacetheater.com to be played straight time but rather the first www.flatpickingmercantile.com 800-413-8296 Flatpicking Guitar Magazine DVD-Rom Archives Twelve Years of Magazine Nine Years of Audio Companions on 2 DVD-Rom Discs The magazine archive DVD-Rom contains the first 73 issues (PDF files), which were published from November/December 1996 (Volume 1, Number 1) through November/December 2008 (Volume 13, Number 1). The audio DVD-Rom contains the audio companion tracks (in mp3 format) that were released between September/October 1999 (Volume 3, Number 6) and November/December 2008 (Volume 13, Number 1). 800-413-8296

19 Flatpicking Guitar Magazine March/April 2012 Waiting For A Train Audio CD Tracks 8-9 Arranged by Steve Kaufman

Key of C CG7 C FF C ˜ 3 4 œ &4 j #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 bœ œ œ bœnœ œ œ

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

J 3 G7 CA7 D7 G7 j˚ œ œ œ œ & œœœ œ œ œ œ œ bœ nœ œ œ œ œ œ #œ œ œ œ #œ nœ 5 œ 1312213 23 22œ #œ

3 5 3 2 0 2 0 2 5 4 3 3 2 3 3 2 1 2 3 2 0 2 4 J 5 4 3 0 1

CG7 CC7 F E7 œ œ œ œ œ œ & œ œ œ bœ nœ œ œ œ bœnœ œ œ œ œ œ œ#œ œ œ 9 œ œ œ œ œ œ œ 0 0 1 3 1 0 0 3 1 0 0 0 0 2 1 2 2 1 0 2 3 2 0 0 0 1 2 3 2 3 2 3

FF˜ CA7 D7 G7 C j œ œ œ œ œ œ & œ bœ nœ œ œ œ œ œ œ œ œ œ œ œ œ bœ œ œ œ œ #œ 13 œ œ œ œ œ 22 2 0 0 0 1 3 1 1 1 2 1 2 2 0 2 4 2 0 0 0 0 2 2 3 2 3 1 0 0 2 2 2 3 4 J 3 2 3

20 Flatpicking Guitar Magazine March/April 2012 Waiting For A Train (con’t)

C G7 C C œ œ œ œ œ œ œ œ & œ œ œ bœ œ bœ œ œ œ œ œ 17 œ œ œ bœ nœ œ œ 23 232 2 233 23œ#œ1 21 32 œ

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

Davis Miller May — Doves, Crows & Buzzards Acoustic Music at its Finest Available on FGM Records www.fgmrecords.com 800-413-8296

GRANGER’S And also. . . FIDDLE COMPANION CDs TUNES for Granger’s Fiddle Tunes for Guitar •Instantly access any tune for •Set your CD player to “Repeat” and learn new tunes •Challenge yourself! Set your CD to “Shuffle” and try GUITAR to play rhythm (or lead!) with whatever comes up •Not dangerous, illegal, discriminatory or fattening 508 TUNES • 1027 TITLES • FULLY Back in the dark ages, our five-cassette set allowed pickers to hear all 508 CROSS-REFERENCED • REPERTOIRE- tunes in Granger’s Fiddle Tunes for Guitar. Our 21st-Century CD sets are BUILDING AND REFERENCE TOOL even better. Each CD contains about 75 tunes. The title is announced, then the tune is This is the largest collection of fiddle played once at a moderate tempo, with rhythm on the left track and lead on tunes in guitar tab in the world. the right. You can learn a tune a week for 29.95 The 7-CD set comes in a black plastic box, and includes separate indexes ten years (by then, you’ll have forgot- plus p & h for each disc. ten the first ones and you can start over!) CD SET/99.95 plus p&h www.granger-music.com 1 • 800 • 575 • 4402 granger publications • box 270115 • vadnais heights, mn 55127

21 Flatpicking Guitar Magazine March/April 2012 Taking It To The Next Level: Guitar Ensembles by John Carlini

Recently, I have been experimenting guitars should do the same. I purposely with writing for guitar ensembles. It’s a did not include a lot of articulation in the beautiful sound, and conceptually it works transcription because I’m leaving that up to great with a “big band” style arranging you, but you can hear how I approached it approach. I wondered what it might sound on the recording. like with three instruments playing a tight, I hope that you experiment with this bluegrass 3-part vocal harmony. That’s what concept and have success with it. Until next The Flatpicking this exercise is all about. time, best wishes and keep moving around You will need to get together with three that fingerboard! Guitar Network other guitarists and, ideally, with a bass as well. That will give you the three voices and John Carlini Meet new flatpicking friends, a rhythm section. I had a lot of fun putting exchange tunes, share photos this together and I think that the 3-voice Please visit www.johncarlini.com, the concept could be worked into fiddle tunes “online home of my musical world”, for and videos, ask questions, and and bluegrass solos successfully. In fact, more info, lessons, performance schedule, find new jamming buddies. it does not need to be limited to guitars. It some cool photos, and news. Find it all at flatpick.ning.com could be any 3-voice combination of guitar- mando-banjo-fiddle. Everything you need to play this example is contained in the written and recorded material. The tab is included, but I encourage you to move to the standard notation when you can. It’s really important to approach this the same way you would if you were working with a vocal arrangement. Everyone has to phrase together precisely. If one guitar uses a certain articulation such as a pull-off, slide, etc, then all the

WIth Brad Davis’ Flatpick Jam

You’ll Always Have A Pickin’ Buddy 800-413-8296

22 Flatpicking Guitar Magazine March/April 2012 Audio CD Bluegrass Guitar Ensemble Track 11-13 Transcribed by John Carlini

Guitar 1: G C G D G ˙ # 3 œ œ n˙ œ œ nœ œ œ œ bœ ˙œb œ & 4 Ó œ . ˙ œ œ œ œbœ œ ˙ . œŒ œ . 3 3

1 1 0 1 0 3 7 T 3 1 0 3 3 1 0 0 2 1 321 3 1 A Ó . 3 4. 4 Œ . 3 B . 3 .

Guitar 2: 3 3 # 3 ˙ œ œ œ ˙ & 4 Ó bœ œ . ˙ œ œ œ bœœœœ bœ œ œ ˙œb œ ˙ . œ Œœb œ .

3 T 3 3 1 3 1 3 A Ó 3 2 . 0 4 3 2 0 0 3 2 0 432 0. 0 Œ 3 2 . B . 3 3 .

Guitar 3: 3 # 3 3 Ó . ˙ bœ œ ˙ Œ . & 4 œ nœ ˙ œ œ œ œ œnœœœ nœ œ œ ˙œn œ ˙ . œ œ nœ T 0 3 . 0 4 0 0 3 0 . A Ó 5 3 0 5 3 0 0 3 2 0 432 0. 0 Œ 5 3 B . . 3 3

New Standards for Flatpicking Guitar Original Flatpicking Guitar Tunes Performed in Duo by Many of Today’s Top Pickers Call 800-413-8296 www.flatpickingmercantile.com

23 Flatpicking Guitar Magazine March/April 2012 Sharpening the Axe by Jeff Troxel

Getting Horizontal – Part 2 Billy in the Low Ground Welcome back everybody. In the last This excerpt moves between 1st, 3rd, 5th, issue I presented the first installment in a and 7th positions. In measures 1, 4, and 8 we series on playing horizontally across the find the familiar 3rd position 3-string figure fingerboard. We learned two scale exercises, identified in the last issue. As you can tell, one in C and one in G, which moved up and this is one of my favorite devices. Keep the hand intact with fingers down the fingerboard using open strings as Each time there is a position shift in this curved, thumb behind the second finger, “escape” notes. If you mastered those two example, an open string is used to “escape” fingers spaced evenly. When you arrive exercises, the examples in this column will to the next position, except in one place. at the new position make sure you get be easy to understand and navigate. The transition between measure five and six there with precision – that is, the fingertips In the spirit of keeping the material employs a direct position shift without the playing just behind the frets and the thumb practical and useful, I’ve taken the concepts open string. To practice this move, play the in place as already discussed. Commit from last time and applied them to two last two notes of measure five (A and B in fully to whatever position you are moving familiar fiddle tunes, “Billy in the Low 5th position), and shift quickly to the second into. Avoid leaving fingers lagging behind Ground” and “Blackberry Blossom.” Both finger (C in 7th position). Be sure to keep the somewhere between positions. examples focus on the “A” section of the thumb behind the second finger, and keep I hope you enjoy working on these tunes. By keeping the excerpts short you the hand intact as you move. examples and that they resonate with your can master the concepts quickly and begin playing in some way. We’ll continue the applying them to your own melodic ideas. Blackberry Blossom horizontal theme in the next edition. Until Both keys, C and G, are represented. This excerpt moves between 2nd, 3rd, 5th, then, practice hard and have fun. As always, and 7th positions. Our familiar 3rd position feel free to email me with questions and figure is found in measures 2, 3, 6, and 7. comments. Good luck. By the time you learn these exercises you’ll Music Theory For own that particular device. Practical People In the 4th measure there is a pretty large position-shift between 2nd and 7th positions. M • a • g • a • z • i • n • e Isolate and practice this shift carefully The Magazine for Mandolin Players & Enthusiasts until muscle memory kicks in. Bluegrass • Celtic • Jazz • Basics • Blues • Rhythm & Chords I’d like to close Texas-Style Fiddle Tunes • Classical & Much More with a bit of advice for Features on Builders, Repair, Product Review, you to consider when Mandolins Around the World, CD, video & book reviews. working on position shifting. I’ve watched Subscribe Now...Don't Miss Another Issue! students struggle with Send U.S. check or money order payable to Mandolin Magazine, this over the years and PO Box 13537, Salem, OR 97309. the biggest obstacle to overcome is the idea Ph. 503-364-2100 Fax 503-588-7707 Email: [email protected] Who said that music of moving the hand as a unit. If you let Include your name, address, theory books had to be phone and e-mail address. the fingers fly apart, or boring? fingers straighten out Visa & MasterCard accepted, A Great Read Regardless of while moving, then include type of card, card number & expiration date. Your Current Level of Music it’s that much harder Theory Knowledge to find where you are One-year USA subscriptions (4 issues) are $27 Call 800-413-8296 when you arrive (or Ask about Overseas/Canada Delivery — requires additional shipping. flatpickingmercantile.com nearly arrive) at the See us online at www.mandolinmagazine.com new destination. 24 Flatpicking Guitar Magazine March/April 2012 Audio CD Billy In The Lowground Tracks 15-16 Arranged by Jeff Troxel

3 4 4 3 4 3 4 1 4 1 4 1 1 1 4 1 2 1 4 1 3 œ œ œ 3 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ & 4 œ œ œ œ œ œ œ œ œ œ I III V III I

0 5 7 8 8 7 8 5 0 557 5 0 3 0 1 0 3 8 8 8 8 6 3 0 0 T 5 5 0 2 A B

4 3 2 1 2 2 3 4 1 4 2 1 1 4 3 1 1 1 3 1 1 œ œ œ œ œ œ œ œ œ œ œ œ œ œ 3 3 1 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ . 5& œ VII V V III I 5 7 8 7 8 10 8 0 5 7 5 0 0 0 1 0 5 8 10 8 8 3 3 0 3 1 1 T 5 7 5 5 0 A . B .

Audio CD Blackberry Blossom Tracks 17-18 Arranged by Jeff Troxel

3 4 1 4 1 4 1 4 1 4 3 1 1 3 1 3 1 3 3 1 3 1 œ 1 # 4 œ œ œ œ œ œ œ œ œ œ œ œ œ œ & 4 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ #œ œ V III II III V II VII

5 7 5 5 0 0 0 8 8 8 7 8 3 0 0 3 0 0 2 7 10 T 5 0 2 5 5 7 0 2 4 7 9 A B

4 1 4 3 3 2 1 1 4 4 1 4 1 4 3 1 1 3 1 3 3 œ œ 3 3 1 # 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 . 5& V III V

7 10 0 5 8 0 7 5 0 5 7 5 8 7 8 3 0 3 0 5 7 8 8 7 8 T 5 5 5 7 A . B .

25 Flatpicking Guitar Magazine March/April 2012 Flatpick Profile: Julian Lage by Mickey Abraham

“...today it’s easier to share music, and it’s with Lage, have easier to combine one thing with another taken folk music because people have access to so much to new places -- information.” — Julian Lage new places like the prestigious Julian Lage is a composer, a player, Berklee college a prodigy, and most intriguing to me, a of Music in teacher. His first recording was at ten Boston where years old on David Grisman’s Dawg Duos Lage himself is and improvised music, was intrigued by record. As a child, Lage had a close musical an instructor. that side of me and how we could play jazz relationship with Grisman. This helps Lage was an absolute pleasure to together. At that time he was doing a lot of explain why at 23 he’s playing swing with interview. His soft-spoken voice had a work with Martin Taylor and I was coming Mark O’Connor, flatpicking duets with rhythmic pulse and a calming effect. This out of a similar school of thought. The more Chris Eldridge, as well as leading his own article can only skim the surface of the we played together, the more I learned new-acoustic jazz bands. musical knowledge that Lage is able to about his background. Grisman has always In today’s modern internet-driven convey and I am already looking forward to been a role model to me, especially when world, where we have easy access to the next time I get a chance to delve further it comes to American folk music, jazz, and more information and more music than into the musical mind of Julian Lage. the combination of the two. one can ever process, it has become increasingly more difficult to sift through Can you explain how you first learned to I enjoy asking these questions to all all the mediocre and subpar material to find play and what styles influenced you? Was master cross-over artists. What is jazz? real artists. Today we find the music scene it jazz right from the start? What is swing? saturated, and I often feel overwhelmed I didn’t get into jazz until a few years To me, jazz will always have this with all the music that’s available. With later. That was just a natural progression. beautiful place in history as a form of Pandora, iTunes, XM, and Spotify all on I started on blues and that is what I loved. music that emphasizes improvisation, group my mobile device, the reality is that I don’t The first thing my father showed me, which interaction, and traditional orchestration have time to listen to it all in ten human was really hip, was a pentatonic scale. He (piano, drums, bass, and brass). I never had lifetimes. Besides, with all of these options would say “if you play any note in this scale a really strong allegiance to jazz. I never available it’s become much less likely that I while I play this blues progression, you thought, “This is what I do and this is all will actually find a song, musician, or band will sound correct.” My father encouraged I care about.” I grew up in an era, in the with true substance and value. improvisation, so I played any kind of music 1990s, with contemporaries who were into On the other hand, when in the right that I could improvise on. Gradually, over a lot of other things. hands, today’s modern technology is the years, I started taking interest in the From an ethnomusicology point of view, capable of bringing great musicians together theoretical and technical side of being a I think it’s safe to say that it’s something and if you know where to look, you might musician and guitarist. This quite naturally that is very hard to define. If you’re saying even sift past all the Xeroxed music to find led to jazz. improvised music, well flatpicking and that we are in the middle of an acoustic bluegrass music can be just as improvised. revolution, the biggest acoustic revolution You are most known in the jazz world, If you say it’s the personal interaction and since Bela, Tony, Sam, and Jerry reinvented yet you are deeply connected with the way people comp (play back-up), then bluegrass in the 1970s. If you keep up with acoustic music. Can you explain your you can easily say it’s no different than the who’s hot in the new-acoustic music scene connection with fiddle tunes, old-time, way a banjo player might accompany a you know names like Alex Hargreaves, and bluegrass? mandolin solo. I don’t think there is a firm Sarah Jarosz, Sierra Hull, Dominick Leslie, Part of it I can’t really explain. A lot of answer for me. and lest we forget Grant Gordy. Right in my interest in that kind of music comes from As far as swing, if it has a swing feel, the middle of today’s acoustic golden era meeting David Grisman when I was ten then it’s swing. That swing feel was really is the quiet and prodigious Julian Lage. years old. We both lived near San Francisco. popular for roughly 40 years, but since the The aforementioned musicians, along Grisman, being such an advocate for jazz 60s it’s been in and out of fashion to play 26 Flatpicking Guitar Magazine March/April 2012 swing, even as a jazz musician. Today, the melody itself, that phrase has the right go, i.e., the musician needed to bring over for example, we are in a very non-swing to be changed. I don’t have an allegiance to the energy level of punk, for example, I based jazz era. If you look at contemporary anything being one way. Some may consider think the reason things go in this direction players, it’s a lot more straight eighth notes it blasphemy, but to me a melodic figure that is more a form of personal therapy. Another and anything from hip-hop to rock beats. is propulsive and has interesting melodic way to say it is it’s kind of a reconciliation. What ultimately defines a genre is the content is fine to play. One interesting For me, the crossover between flatpicking culture that goes along with it. It’s typical example is to explore the triplet feel that and jazz is not because one does what the for the music that I play to be played lives inside the eighth notes. It’s that whole other does not. It’s more that I couldn’t in night clubs where people are having concept of abstraction, of taking something choose, so I might as well reconcile the drinks, eating dinner, and watching a jazz you like and playing with it. dilemma by letting them crossover. It’s more act, where flatpicking you can find in a lot of an allowance. more intimate settings because it requires We are in the middle of an acoustic Today, bluegrass musicians have pushed less. The people who want to be in that revolution. Where does it go from here? their instruments to a level of virtuosity environment versus a jazz environment Wow, good question. As far as where it’s that’s ridiculous, and we all know it. Look are the kinds of things that distinguish the going, I think it’s going the way of a lot at cats like Edgar and Thile making records cultural orientation of a genre. of other genres -- the way most things are with Yo Yo Ma. It’s taken very seriously going is that today it’s easier to share music and these are the most masterful musicians I love the way you interpret traditional and it’s easier to combine one thing with on the planet. But, like anything, history flatpicking tunes. How do you approach another because people have access to so shows that once you reach this degree of improvising on a standard fiddle tune like much information. I’ve thought about it a precision, it’s natural to have a movement “Whiskey Before Breakfast?” lot because in my generation people grew towards something raw, less refined, and I don’t consider myself a flatpicking up inundated with a lot of stimuli. There less polished. guy in the sense of the masters­—or even is so much you could do. The idea that I, modern masters like David Grier. His growing up in a suburban neighborhood Can you talk a bit about teaching at the flatpicking embodies incredible feel, sound, in northern California, could be exposed Berklee School of Music in Boston? and melodic variation. It’s just killer! What to jazz at a high level is very cool. Only in I’ve been teaching there for about a I enjoy bringing to a situation like that, if this time could that happen. year. I teach private lessons and I also I’m playing a tune like “Whiskey Before What I’ve noticed is that when musicians teach a course called the Improvisation Breakfast,” would be a certain degree of are fusing styles, as much as people listening and Composition Collective. We just call abstraction. This means that everything is on the outside might claim it’s because the it “the collective.” The intent of the class equal. If there is a melodic phrase, or even musician has pushed a style as far as it could is to bring together seemingly unrelated

27 Flatpicking Guitar Magazine March/April 2012 musicians. The music school is set up where What was it like to be at Berklee, in the going with muscle memory by putting in if you’re really great, the school keeps you center of the new-acoustic revolution, as endless hours practicing, I might spend my sequestered with the other great kids and if it was happening? practice time listing to a concerto by Ravel you’re not so great or play a style that is not I watched it all happen! Sierra Hull came, and sing along with the melody, then try to so widely understood like bluegrass, you Alex Hargreaves, Sarah Jarosz, Dominick transcribe it. Then, the next day I will work don’t get to interact with the jazzers. Also, Leslie, Courtney Hartman, Brittany Hass. on etudes from this cool saxophone book the composers don’t get to interact with the Everyone was hanging out here. What that are based on these weird symmetrical improvisers. started to happen is that you’ve got the scales. Whatever you need to do that day In my class, we set up an environment most portable instruments joining the club. is best. where students of any style meet for three They’d have these picking sessions and a hours and improvise as a group. One few saxophone players would come or jazz What guitars do you play? semester we had Hargreaves, Barnett, Justin guitarists, even drummers. They have been The main one is built by Linda Manzer, Faulkner, who is an amazing drummer, a great influence on that whole scene and a Canadian luthier. It’s an arch-top with a Julia Easterlin, who is this incredible brought a wonderful sense of community as laminate top and a pick-up. It’s my main electronica singer-songwriter, and Jared well as a connection to traditional American jazz guitar. Today I’m playing on the Tim Henderson, a great bassist. Basically music. O’Brien model Martin. It’s a 00-18 with we got everyone together who wouldn’t a short scale. For a while I was into this necessarily be together and then we study Were you a child prodigy? 1926 00-28. how improvisation works as a group. The When I was a child it was more likely second half of the class we take the best of to be called that. I have friends who don’t What makes a great guitarist? the group’s improvisations and turn them like that term. It’s a cultural outlook which The biggest thing is poise. This means into full fledged compositions to be recorded is to say that if you do something at an that you’re alert and agile. People naturally by the end of the semester. What’s cool is exceptionally high level and you’re not an correct themselves through reflexes. If you that you get these crossover sounds that adult, it stands out. I see it very rationally trip, your body knows how to catch itself. are only possible with a certain group of —I started young, worked really hard, and Likewise, if you play and hear yourself musicians. I love it. I think everyone has that potential. back on a recording and you sound bad it’s those reflexes that kick in and tell you how Can you give an example of an assignment What is your practice routine? you’re doing. You should train yourself from the class? I don’t have one practice routine. A lot of technically to a level that makes you the One time we took a theme from a Mozart my practice is dictated by trying to learn a most responsive and poised guitarist you piano concerto. I did not let the class hear certain set of songs for a particular project. can be. It’s not to say you need to be perfect the entire concerto, rather I just gave them My practice also goes in season of what all the time. But, you can acknowledge the main theme. They wrote two separate I think is important. It’s hard to prioritize what’s happening all the time when it’s songs based on that theme. At the end of because it changes throughout my life. happening rather than later. There is a the class they play their songs and then we I used to think that I had to play all the sound of a player who practices too much listen to what Mozart did with it to compare time, and I did that for a while. Then what —they sound terminally unimpressed with what you would do versus what Mozart happened is I was playing all the time but I anything coming out of their instrument. Try actually did. was unhappy with what I was playing. My to remain as simple as possible so we can practice routine began to shift. Rather than be moved by the simplest things.

The Essential Clarence White Bluegrass Guitar Leads

by Roland White & Diane Bouska with Steve Pottier and Matt Flinner

For fans of the legendary Clarence White, this is the ultimate book and CD package. The photo and biographical information are worth the price of this book alone. Not to mention detailed transcriptions for 14 Clarence White solos and 2 audio CDs. The best part of this book is the performance notes, practice suggestions, and examples that are provided with each tune. These detailed notes will help students understand the techniques that Clarence is using in each song. A lot of work was put into this project by Roland White, Diane Bouska, Steve Pottier, and Matt Flinner. It is the best Clarence White resource available! To Order call 800-413-8296 or visit: www.flatpickingmercantile.com

28 Flatpicking Guitar Magazine March/April 2012 Audio CD Red Prairie Dawn Track 19 Arranged by Julian Lage

1 j # # œ œ . ( ) œ œ œ # 4 œ œ œ ˙ ˙ œ œ œ œ œ œ œ & 4 J œ ˙ œ œ œ S œ 3 5 20 2 ( 2 ) P S 5 7 5 T . 2 2 4 6 6 6 4 2 A J 4 4 2 4 2 B J 5 0

5 j # # œ ( ) œ œ # œ œ œ œ ˙ ˙ œ œ œ œ œ œ & œ œ ˙ œ œ S œ S 0 3 5 2 0 2 ( 2 ) 3 5 2 2 4 6 2 4 2 2 4 4 2 4 J 5 0

9 # # ( ) œ # œ œ œ ˙ ˙ œ œ œ œ œ œ œ & œ œ ˙ œ œ œ œ œ ˙ œ 0 5 20 2 ( 2 ) P S 5 7 5 2 2 4 6 6 6 4 2 4 4 2 4 2 5 0

13 # ( ) j # œ œ # œ œ œ œ ˙ ˙ œ œ œ œ œ œ œ & œ œ ˙ œ œ S œ S 3 5 2 0 2 ( 2 ) 2 2 4 6 2 4 2 4 6 2 4 4 2 4 5 0 J

17 # # ( ) œ # ˙ j j œ œ œ œ œ œ œ œ & œ . œ œ œ œ j œ œ œ œ œ œ œ œ œ œ . J ˙ œ . H 0 0 0 2 0 0 0 0 2 2 2 ( 6 ) 2 H 2 2 2 4 . 2 4 2 2 4 2 4 2 0 . J 2 4 . J 5 J J 29 Flatpicking Guitar Magazine March/April 2012 Red Prairie Dawn (con’t) 21 # # # œ œ ( ) j j j 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 0 0 0 0 S 0 0 0 0 4 6 ( 2 ) 2 H 2 2 2 2 2 4 2 4 . 2 2 2 . 2 4 2 0 0 4 5 . J J J 25 J # # # j j & ˙ œ j j j j j j œ œ . œ œ œ œ ˙ œ œ œ ˙ œ œ œ œ œ œ œ ˙ œ . œ ˙ œ ˙ œ œ œ œ œ H H H H H H H 2 6 4 2 2 2 2 2 2 2 2 2 42 . 2 4 2 4 2 4 2 4 2 4 2 4 4 4 2 2 4 5 5 5 5 5 5 5 J 5 . J J J J J J J 29 # # j w & # œ œ j œ . j j ww œ . œ œ œ œ w œ œ . œ œ œ w w 0 S 0 4 6 2 H 2 4 2 4 . 2 2 . 2 4 2 0 0 2 4 . J 5 J J J

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

30 Flatpicking Guitar Magazine March/April 2012 Floaties & “Angeline the Baker” by Kathy Barwick

We banjo pickers learn this early: if 20 and 28 are my ticket to getting my ring you’re playing eighth notes, never pick the finger to the 4th strong 7th fret, ready to same string twice in a row. The “melodic” slide into the G chord. style of banjo playing, invented by Bobby I hope you enjoy this “floaty” arrangement Thompson and Bill Keith, revises the of this great old-time tune. One more Scruggs style so as to get more of the thought: I might not do quite this much melody notes. floating in an actual solo. A little can go a Bryan McDowell: Guitar pickers call this approach long way! “floating,” with such licks called “floaties.” The Contestant So be it, it’s a cool technique and you can Kathy Barwick has played guitar since find melodic phrases all over the neck using the late 1960s, when she learned folk-style this approach. For this issue, I’ve arranged fingerpicking. Kathy also plays banjo, “Angeline the Baker” so that it is almost resophonic guitar, and acoustic bass, and exclusively played by alternating fretted has performed over the years with bluegrass notes with open strings. and Irish bands. A founding member of The The good thing about floaties is that open All Girl Boys, Kathy now plays resophonic notes ring through while you’re playing a guitar and mandolin with The Mike Justis fretted note on a different string. Of course Band. Kathy’s critically-acclaimed solo there’s a down side, and it’s that it’s rather recording “In My Life” was released in disorienting to hear a higher note in spite of 2011 on the FGM label. the fact that you’re picking a lower string. A Sacramento resident, Kathy teaches at This renders this style of playing pretty music camps and gives private lessons on non-intuitive, and it’s an approach that, in guitar, resophonic guitar, and banjo. She Bryan McDowell is perhaps the most general, you need to really learn how to do. welcomes your feedback and/or comments; successful all-around contest player of OK, on to the tune. You’ll notice that you can contact her at kbarguitar@ all-time. During the past two years he the arrangement is centered around the D yahoo.com or visit on the web at www. has won an unprecedented number of note on the 3rd string 7th fret. Notice the kathybarwick.net. contests on a variety of instruments. Anyone who has not heard Bryan play fingering discussion below. and is curious about this young talent, In the A section, I played all the 7th should check out Bryan’s new CD. fret notes with my (left-hand) index finger, which made it easy to get into the G chords. flatpickingmercantile.com Speaking of which, in measures 5, 13, and the second half of measures 20-21 and 28-29, I’m using the “D shape” G chord illustrated in Figure 1 (see bottom of page 33). In the B section, slide into that shape using your ring finger on the 4th string, and you’ll be all set to drop the rest of the chord down. In the B section, the fingering is a little more tricky. In the end of measures 17, 21, 25, 27 and 29, I set up the fingering shown in Figure 2, and use this through beat one of the following measures. This fingering means I end up playing those 7th fret notes with my ring finger (instead of the index, as in the A part). This makes the G chords a little harder to get to; so, the parenthetical 2nd string open notes (ghost note) in measures

31 Flatpicking Guitar Magazine March/April 2012 Audio CD Angeline the Baker Tracks 20-21 Arranged by Kathy Barwick

D G 1 œ œ œ ## 4 œœ œœ œ œ & 4 Ó Œ œ œ œœœ œ œ œ œ œ œ œœœ œ œ œ œ

0 0 0 0 0 8 8 8 T 0 77 77 0 7 7 0 A Ó Œ 77 7 77 9 9 9 B 9 9

D 6 # œ œ œ œ # œœœ œ œ œœœ œ œ œ œ ( ) & œœœ œ ˙ œ œ œ 0 0 0 0 0 0 0 7 7 7 7 0 77 77 7 7 0 77 7 ( 7 ) 9

D G 10 œ œ œ ## œœ œœ œœ œ œ & œœœ œ œ œ œ œ œ œ œ œ œ œ

0 0 0 0 0 8 8 8 77 77 0 77 7 7 0 77 7 9 9 9 9

D 14 # œœœ œœœ œ œ œ œœœ œ œ œ œœœ & # œœœ œ œ ˙

0 0 0 0 0 0 77 0 77 7 0 778 77 7 7 7 77 7

D G 18 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

5 0 0 0 5 7 7 0 7 8 7 ( 0 ) S 8 8 ( 0 ) 7 8 7 7 7 7 7 7 7 9 9 9

32 Flatpicking Guitar Magazine March/April 2012 Angeline the Baker (con’t) D 22 œ # œ œ œ œ œ œ œ œ œ œœœ œ œ œ œœœ & # œ œ œ œ ˙

5 0 0 0 0 0 0 7 7 0 0 77 7 0 778 7 7 7 7 7 7

G 26 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

5 0 0 0 5 7 7 0 7 8 7 0 8 8 0 7 8 7 7 S 7 7 7 7 7 9 9 9

D 30 œ # œ œ œ œ œ œ œ œ œ œœœ œ œ œ & # œ œ œ œ ˙ Ó

5 0 0 0 0 0 0 7 7 0 0 77 7 0 7 7 7 7 7 7 Ó

Figure 1: Flatpicking We are now broadcasting a new G Guitar Podcast every month X X X Interviews, flatpicking tunes, Magazine and more. Check it out: http://www.flatpick.com/ 1 Podcast podcast.html

2 8th Fret 3

Figure 2:

X X X X 1 5th Fret

3

33 Flatpicking Guitar Magazine March/April 2012 THE - ZONE O by Orrin Star

Lorena utilizing all the techniques at our disposal 11, for example, you play that F# (4th fret to coax the kind of melodic sustain from fourth string) with your pinky on top of a Like “Year of Jubilo” (from my last the guitar that is the natural endowment regular C chord.) column) “Lorena” is a Civil War-era song of the fiddle. To wit: strums, double-stops, Lastly, here are some less-common chord that is more often done as an instrumental grace notes, and both regular as well as forms that I employ which would be good to than as a vocal tune. It is a true “earworm”: syncopated crosspicking. keep in mind from the outset: The second once it’s in your head it lingers. Though What do I mean by syncopated position D (used with all the D phrases—see there are many versions of “Lorena” crosspicking? Whereas normal crosspicking the chart at the bottom of page 36). The out there (and in a variety of keys) my is based on a pair of three-note molecules three B7 forms (used in measures 19-21) favorite remains one played in D by the (i.e., down-up-down up-down-up), [See the chart at the bottom of page 36.] great Vermont fiddler Pete Sutherland. syncopated crosspicking uses only two I’d heard “Lorena” for years but never He recorded it on folksinger/songwriter notes per molecule; it omits the middle worked it up until last week. Now that it has Steve Gillette’s superb 1998 CD Texas & note and also accents the second and third burrowed into my being, something tells Tennessee. According to the liner notes notes of each sequence: down Down-Up me it’s going to get played in many of my “During the Civil War, southern troops were up-down-up. Staggering the strokes yields upcoming concerts. forbidden to play it because the emotions a more spacious and more driving sound and memories it evoked caused so many than regular crosspicking. (Measures 13 Orrin Star (www.orrinstar.com) is an desertions.” and 14 in the tab provide good back-to-back award-winning guitar, banjo & mandolin So I play it in D as well, but out of a examples.) player based in the Washington, DC area. G-shape capoed at the seventh fret. The Don’t let the fact that this is a slow tempo The 1976 National Flatpicking Champion, form is AABA, with a repeat of the final tune lull you into thinking it’s easy; this he has toured and recorded widely, is the phrase at the end. My intent was to fashion arrangement is chock-full of variations and author of Hot Licks for Bluegrass Guitar, an arrangement that would work as a solo subtleties. So pay close attention to the tab. and performs mostly solo and duo. He offers piece as well as with back-up. Inevitably Also: hold whatever chord you’re making private music instruction both in person that lead us along a Norman-like pathway, for the duration of each phrase. In measure and online.

Available on DVD! Orrin Star’s Flatpicking Guitar Primer What The Tab Won’t Tell You

A comprehensive introduction to bluegrass lead guitar playing by one of America’s top flatpicking teachers, this video brings to light vital, yet often overlooked, subtleties that are at the heart of this exciting style—those things that the tablature won’t tell you. Among them: • how to think like a fiddler and get the “dance pulse” into your playing • the central role of strums in lead playing (as applied to Carter-style and Blake-style) • right hand fundamentals like: how to properly alternate your pick, how to modify your right hand technique when strumming, performing double-stops, and rest strokes • the role of double-stops and harmonized leads • using lyrics & singing styles to guide your solos Starting with a simple scale and then progressing through eight cool arrangements of classic tunes, this 2-hour video doesn’t just spoon feed you solos—it provides a systematic guide to the thinking behind and within the style.

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34 Flatpicking Guitar Magazine March/April 2012 Audio CD Lorena Track 23 Arranged by Orrin Star G C 1 j j # œ œ œ œ œ œ œ œ œ œ œ 4 Ó œ œ œ j œ œ œ œ œ œ œ œ œ œ œ & 4 œ # œ œ œ œ œ œ œ œ œ œ œ œ J œ œ œ nœ œ J œ œ œ œ œ J3 3 3 0 0 0 0 0 0 0 0 0 0 1 3 1 1 1 1 1 1 1 H 1 1 T 0 0 2 4 2 0 0 0 0 0 A Ó 0 0 0 1 2 0 2 2 0 2 2 2 2 3 2 J B J J J D J G J D 6 # œœ œœ œœ œ œ œ œ œ œ œ œ œ œ œ & œ œ J œ œ œ œ J œ œ œ œ œ œ œ J J œ œ œ œ œ œ œ 0 0 0 0 3 3 3 3 3 3 3 3 3 3 3 3 0 0 0 0 3 2 2 0 2 0 4 2 0 0 0 2 4 4 J 0 0 0 0 J J 2 2 3 G C 10 J j j # œ œ œ œ œ œ œ œ j œ œ œ œ œ œ œ j 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 J œ 3 3 3 0 0 0 0 0 0 0 0 0 1 3 1 1 1 1 1 1 1 1 1 0 0 0 2 4 2 0 0 0 0 0 0 0 0 0 2 0 2 4 2 2 4 2 J J J J D G J 14 J # œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ & œJœJœ œ J J œ œ œ œ œ œ œ ˙ P 3 3 3 3 3 3 3 3 3 3 0 0 0 0 2 0 2 0 4 2 0 0 0 0 4 4 0 0 4 J J J J 2 3 Em B7 18 # œ œ j j j j œ œ j & 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 0 œ H 0 0 0 0 0 0 2 2 2 2 2 0 2 2 2 2 2 4 2 1 1 2 4 4 2 2 2 2 2 0 J J J J J 35 Flatpicking Guitar Magazine March/April 2012 Lorena (con’t)

Em D 22 # œ œ œ œ œ œœ & œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ J J œ œ œ œ #œ œ œ œ œ 0 0 0 0 0 0 0 1 0 0 0 0 H 0 0 P 3 2 2 2 2 0 0 0 0 0 2 4 4 4 0 2 2 2 1 0 0 J J 2 3

G C 26 j j # 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 œ # œ œ œ œ œ J œ œ œ œ œ œ 3 3 0 0 0 0 0 0 0 1 3 1 1 1 1 1 1 1 1 1 0 0 0 0 2 4 2 0 0 0 2 0 0 0 0 1 2 1 2 4 2 2 J 3 J J D G J 30 # œ œ œ œ œ j j œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ & œJœJœ œ J J œ œ œ œ œ œ œ œ œ P 3 3 3 3 3 3 3 3 3 3 0 0 0 0 0 ≥0 ≥1 ≥0 2 0 2 0 4 2 0 0 0 0 0 2 0 4 4 0 0 0 J J J J 2 3 J J

D G 34 # œœ œœ œœ œ œ œ œ œ œ œ & n#œœ #œ œ J œ nœ œ œ œ œ œ œ œ œ œ œ œ Ó J œ œ œ œ H ˙ S 0 0 0 3 3 3 3 3 3 3 H 3 3 3 0 0 0 0 1 2 2 2 2 2 4 2 0 0 0 3 4 4 4 5 4 0 0 0 Ó 2 J 3 J D B7 9 B7 B7 X X X X b X X X X X 1 1

1 2 1 2 2 3 2

3 4 4

36 Flatpicking Guitar Magazine March/April 2012 “Wild Bill Jones” Bluesey Solo by Dix Bruce

One of the reasons I like “Wild Bill G Major Scale (with blue notes in Jones” so much is that it’s such a simple, parenthesis): So if we play the Bb and F notes against uncomplicated song. It’s one of those chord G A (Bb)B C D E (F)F# G the G major tonality, and if we resolve our progressions that essentially has one chord, 1 2 (b3)3 4 5 6 (b7)7 8 phrases to the G note/G chord, we’re kind the I chord, which, in the key of G is a G of superimposing an F tonality on top of chord. I always play the two brief V chords, The two main blue notes associated with a G tonality. Again, this causes tension as the Ds, but one could almost get away with the G major scale are Bb (the flatted third) these “foreign” notes from the F scale rub just staying on the G chord. The narrative and F natural (the flatted seventh). Some against the G scale. So where does the term theme of “Wild Bill Jones” is pretty direct as players, Tony Rice among others, also throw “modal” come in? well: “Wild Bill Jones is a bad guy making in a flatted fifth tone, a Db in the key of G. As you can see in the scale listing above, the moves on my girl. I warned him not to, I didn’t add any Dbs to this solo but you G is the second tone of the F major scale. If but he persisted so I blew him away. Now certainly could if you wanted to. we play these notes in this order: I’m off to prison.” Blue notes sound “bluesy” because they Another reason I like “Wild Bill Jones” rub against the home tonality of the major G A Bb C D E F G is that it lends itself well to bluesy notes. scale. They create tension. They’re like It’s usually sung in bluegrass and old-time sandpaper or a wool sweater or maybe a we’re playing the Dorian mode of the F contexts with lots of bluesy vocal sliding piece of dust in your eye. If we substitute scale. Yes, I know, we’re getting pretty into and out of blue notes. In this column in these blue or flat third and seventh notes theoretical here but if you’ll stick with we’ll explore a solo to “Wild Bill Jones” for the naturally occurring B and F#, we me on this it won’t hardly hurt a bit. So in which includes blue notes. get a bluesy or modal sound. More on that essence, if we play “Wild Bill Jones” in the We’ve talked about blue notes in past in a minute. so-called key of G major but add in the Bb columns. Let’s review what they are. Blue As mentioned, these flatted notes come and F notes, we’re mapping out the Dorian notes are notes that are not naturally a part from somewhere other than the current mode of the F scale and this bluesy sound of a standard major scale. They are added major scale. The Bb and F natural notes is sometimes called “modal” or “Dorian.” notes that are usually the flatted third and are present in a lot of different keys, one of Songs like “Little Maggie,” “Shady the flatted seventh notes of the major scale. which is the key of F: Grove,” and “Deep Elem Blues” have a Since this solo is in the key of G, let’s look similar thing going on and you’ll find a lot at the G major scale and locate these blue F Major Scale: of “modal” sounding songs, both major notes. F G A Bb C D E F 1 2 3 4 5 6 7 8 and minor, in the traditional Americana repertoire. G Major Scale: G A B C D E F# G One way to identify blue notes in a 1 2 3 4 5 6 7 8 song is to look at the standard notation of a

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37 Flatpicking Guitar Magazine March/April 2012 written piece and find the sharp (#), flat (b), to closed positions, both for the lower and and natural ( n) signs, known collectively as upper octaves. Once you do that you’ll be “accidentals.” Seeing them present signifies able to play the solo in any key. You won’t that those notes of the song’s melody are get that sickly green look fiddlers sometimes outside the parameters of the home major get when somebody suggests the key of Bb scale. Of course they might not all be “blue” or Eb. (That’s usually right before they get notes in the sense of flatted thirds, sevenths, all defensive and tell you that neither Bill and possibly fifths, but they’re definitely nor the Beatles ever played in those keys. I non-scale tones. Once you find them you don’t know that that’s true, I’m just telling can analyze them and determine if they are you what I’ve heard them say. I do know in fact flatted thirds, sevenths, or fifths. for a fact that Flatt & Scruggs often played Look at the music to “Wild Bill Jones” in Ab. Look it up. But I digress.) as shown on the next page. In the pickup Suggested fretting finger numbers are measure you’ll see a B note with a flat sign shown between the standard notation and in front of it. The flat sign changes the note tablature staffs. I couldn’t resist adding a from a B natural to a B flat. Measures 6, 8, couple of slides in measures 5 and 8. You’ll 10, 12, and 14 also have Bbs or flatted third use your fourth finger in measures 7 and 11. notes of the G major scale. We don’t have Exercise that pinkie whenever you can to any F naturals in the melody but the Bbs are strengthen it. enough to pull us out of the G major tonality The solo is written with a repeat and here and there. two slightly different endings. I expect that The solo on page 40 is my version of I’ll change a few things on the repeat as the melody with lots of Bbs and F natural I perform the solo. You should too, once notes added in. Again, look at the standard you have it memorized. I suggest that you notation and identify where these notes make only slight changes to preserve the are and remember that the presence of melodic flow. One variation might be to play “accidentals” lets you know that you’re the second half up an octave as mentioned leaving the G major scale/key, if only above. Have fun! temporarily. With the Bb and F natural notes By the way, you probably already have I’m leaving the G major scale/key just long the book/2CD set, but this version of “Wild enough to add tension and a bluesy sound Bill Jones,” and a whole bunch of other as those two notes are played against the great traditional bluegrass songs, is from tonality of the home key. It’s important to my Parking Lot Picker’s Songbook. resolve the phrases that contain blue notes back to the G or root note. That reinforces Dix’s latest publication is “Christmas the home key and strengthens the tension the Crosspicking Solos for Guitar.” The book/ accidentals provide. If you hang out on the CD set features 31 arrangements of the blue notes too long you’ll lose the context most popular and best loved traditional of the key we’re trying to add tension to and Christmas songs for cross picking guitar. the effect will be reduced or lost completely. It includes chords, melodies, tablature, I usually sing “Wild Bill Jones” in the key lyrics, and extensive instruction on the of G. Obviously you can play it anywhere crosspicking style. This is Dix’s second you want. Dangit! We’re guitar players and collection of holiday music solos. The first we can pretty much write our own tickets. is Christmas Favorites for Solo Guitar, Am I right? a collection of Carter-style solos on The solo follows the melodic shape of traditional Christmas and holiday tunes. the original melody. It’s very important that Both are available from Dix’s website you know the original melody of a song (http://musixnow.com). If you start working before you blues it up. If you don’t know on the solos now they’ll be ready in plenty the melody inside and out, you won’t know of time for the next holiday season! Mel where to place the blue notes or how to Bay recently published his book/2CDs set resolve your solo to the root note. It won’t The Parking Lot Picker’s Songbook, Bass be no part of nothin’! Edition, the sixth book in the Parking Lot This solo is pitched quite low on the Picker’s series. It includes bass lines to each guitar and the timbre adds a lot of darkness, of the over 200 songs along with extensive maybe even a little menace, to the solo. instruction on how to compose bass lines After you’ve memorized it, try moving it up from a song’s chord progression. an octave. You can still use open strings and hang out in the region of the lower few frets. It’ll also be a great exercise to move the solo 38 Flatpicking Guitar Magazine March/April 2012 Audio CD Wild Bill Jones Tracks 26-27 Arranged by Dix Bruce melody G # j œ œ œ j œ & 42 bœ œ œ. œ œ œ œ œ 1. As I went out for to take a lit - tle walk, I 2. He said, “My age is twen - ty one, Too 3. He reeled and he stag - gered and he fell to the ground, And he 4. So pass a-round that long - necked bottle, And we’ll T 011 3 3 3 0 3 A 3 0 0 . 0 B

5 J D G J # & œ œ œ œ bœ œ œ œ ˙ œ bœ œ walked up -on thatJ wild Bill Jones. He was old to be con - trolled.” So I gave one dy - ing groan. I all go on a spree. For to - 3 3 3 1 3 3 0 3 0 033

9 J # j & œ œ œ œ bœ œ œ œ œ œ œ bœ œ œ œ walk-ing and a’ talk - ing by my Jtrue lov-er’sJ side, And I drew my re - volv-er from my side, And de - threw my arms a-round my dar - ling’s neck, Say - ing, day was the last of that wild Bill Jones, And to - 1 3 3 3 3 1 0 0 0 0 3 3 0 0 3

13 J JD J G # & œ œ œ bœ œ. œ œ ˙ Œ biJd him toJ leave her a-lone. stroyed that poor boy’s soul. “Darling, you’ll be left a lone.” mor - row’s the last of me. 3 3 1 3 3 0 . 3 0 Œ

39 Flatpicking Guitar MagazineJ March/April 2012J Audio CD Wild Bill Jones Tracks 26-27 Arranged by Dix Bruce Solo G # j œ œ œ j œ & 42 bœ œ œ. œ œ œ œ œ 1. As I went out for to take a lit - tle walk, I 2. He said, “My age is twen - ty one, Too 3. He reeled and he stag - gered and he fell to the ground, And he 4. So pass a-round that long - necked bottle, And we’ll T 011 3 3 3 0 3 A 3 0 0 . 0 B

5 J D G J # & œ œ œ œ bœ œ œ œ ˙ œ bœ œ walked up -on thatJ wild Bill Jones. He was old to be con - trolled.” So I gave one dy - ing groan. I all go on a spree. For to - 3 3 3 1 3 3 0 3 0 033

9 J # j & œ œ œ œ bœ œ œ œ œ œ œ bœ œ œ œ walk-ing and a’ talk - ing by my Jtrue lov-er’sJ side, And I drew my re - volv-er from my side, And de - threw my arms a-round my dar - ling’s neck, Say - ing, day was the last of that wild Bill Jones, And to - 1 3 3 3 3 1 0 0 0 0 3 3 0 0 3

13 J JD J G # & œ œ œ bœ œ. œ œ ˙ Œ biJd him toJ leave her a-lone. stroyed that poor boy’s soul. “Darling, you’ll be left a lone.” mor - row’s the last of me. 3 3 1 3 3 0 . 3 0 Œ

40 J J Flatpicking Guitar Magazine March/April 2012 June 10-16: Old Time Banjo, Mt. Dulcimer, Bass, Flatpicking, Fingerpicking, Old Time Fiddle, Songwriting, Celtic Harp

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41 Flatpicking Guitar Magazine March/April 2012 Music Theory: Mastering the Fingerboard Technical Studies for Flatpickers

by Michel A. Maddux

Creating a new sense • Exercise 1 is an example of beginning a solo on the 5th, the D note, in the key of G • What about scales? Scale runs are just as Regular readers might recall that I play followed by a simple melody line over the important and useful in making up melodies. on Wednesday nights in a jazz big band in G chord. Exercise 6 shows an example of using a Colorado Springs. This is a sight-reading • The melody might begin on a G note, or simple scale run to resolve from a D to a G. band. We hand out new charts on a regular any of the other chord tones. A G major triad What about more complex changes, basis and play them. That doesn’t sound that has the notes G-B-D; they are the chord like the G moving to the Em to the C? One hard at first, but we’re doing this in front tones. Exercise 2 shows a bit of the bluesy reasonable rule is to begin on the root and of a hundred people in a concert situation chord tones. That means playing the flat play from there. Another way to think about on songs that most of us have never heard, third, the Bb, then the B natural, as is done it is “where is the next chord?” I might then on music that we have never seen before. with the G run. try to play a lick that “lands” on the first note To properly set the scenario, on many • The next chord is likely to be either the of the next chord, or even play the chord. of the songs the introduction calls for an IV or V chord, meaning a C (the 4th degree I want you to experiment with as many improvised solo on guitar where no melody of the G major scale), or the D, the 5th scale ideas as possible. It never ends. Develop line is written in the song, just the chords. degree. The melody that you play should your ear so that when you hear a new song lead into the next chord. See Exercise 3, a you hear the way that it was done. Listen to What do you play? lick in G followed by a similar lick in C. horn players for phrasing. Notice how they With just the changes you can create a Notice that the use of a similar lick through have to take a breath. You can make your basic melody line using your knowledge the changes provides some symmetry and solo breath in a similar fashion, by holding of how the chords work. That is the cohesion for the solo. a note, or by playing a quick strum. Listen fundamental key to improvisation, creating • Exercise IV is similar to III, using the to everyone and take the best ideas and use a new melody over a set of changes. In a cross-picking technique to play through them in your music. jam session you can ask for the changes, or I-IV-V in G. What if the song leads to an just listen to the song to get the changes and F? The F in the key of G is a flat 7th chord, About the Tune – Key West some melodic ideas in mind. Here are some because in the key of G the F# is the natural This is a tune that I made up to additional ideas to help you get through the 7th. In that case, you want to play something demonstrate some of these ideas for hurdle of playing an unfamiliar tune. that lands on an F note. Play cross-picking improvisation in the key of G. The tune is Think about the notes in a chord. Any of changes moving from G to F. This is similar an AABA form; play the A section twice, the notes in the chord, the chord tones, are to the chords in songs like “Salt Creek” and then the B section, followed by repeating candidates for creating a melody. To think “Red Haired Boy.” Experiment with this the A section a final time. about this let’s identify some important technique in other songs, for example, slide musical elements. up to 10th position and play in D, then down Mike’s guitar music can be heard to 8th position for C. regularly in the Rocky Mountain West. • Songs usually begin and end on the root • Exercise 5 shows a lick that has the bluesy Contact information on recordings, books, chord and often the root note. Not always of sound, moving from G to F. This works and correspondence can be found at course, but most do. That means, in the key over songs like “Red Haired Boy” and http://www.madduxband.com/ and search of G, the song likely begins on a G chord “Nine Pound Hammer.” Experiment with Facebook and YouTube for the latest clips and ends on a G chord. it in other songs and see where it takes you. and news.

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42 Flatpicking Guitar Magazine March/April 2012 Audio CD Maddux Exercises Track 28 Arranged by Mike Maddux Exercise 1 Exercise 2 1 G # 4 . œ œ œ œ œ œ œ œ . & 4 . œ œ œ œ œ œ . #œ nœ œ œ œ #œ œ œ œ 3 3 3 3 3 5 3 T 4 0 2 0 0 3 2 0 A . 2 2 0 . 0 2 0 B . . 1 2

Exercise 3 G C G 4 # œ œ nœ #œ œ j . œ œ #œ nœ 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

8 7 6 7 8 0 4 0 5 0 6 0 5 0 4 0 5 0 5 0 5 0 5 0 5 0 4 0 5 0 6 0 7 . 0 0 0 0 0 0 0 0 0 Œ . . . J . Exercise 4 10 G C D # 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 œ œ œ œ œ 3 5 3 5 3 3 5 3 5 3 3 3 3 3 3 3 3 3 3 3 3 5 3 . 0 0 0 0 0 5 5 5 5 5 0 4 2 0 . . 2 0 . Exercise 5 15 G G # œ nœ œ œ œ nœ & œ ˙ Ó œ #œ #œ nœ #œ ˙ Ó œ œ œ œ œ #œ 3 1 3 1 1 3 1 2 3 2 1 0 0 3 0 0 2 0 Ó Ó 0 1 2

Exercise 6 20 G D G # œ œ nœ #œ ˙ œ œ œ œ œ œ œ #œ œ œ Ó & œ œ œ œ œ œ œ œ œ œ 0 0 1 2 3 0 0 1 3 2 3 3 0 0 2 2 0 0 2 4 2 0 2 4 4 Ó

43 Flatpicking Guitar Magazine March/April 2012 Audio CD Key West Tracks 29-30 Arranged by Mike Maddux

G D G 1 # œ œ 4 œ œ œ œ œ œ œ #œ œ œ œ œ œ œ œ œ œ œ œ œ œ & 4 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ

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

G G D 6 2 # #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 2

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

C G D G 10 œ # œ œ #œ œ #œ œ œ œ œ œ & œ œ #œ œ œ œ œ #œ nœ #œ œ œ #œ nœ œ œ œ œ œ œ œ 0 2 3 0 0 1 0 1 2 3 4 3 0 0 3 3 2 0 3 2 1 0 3 2 0 2 0 4 4 2 0 2

C G F D 14 # œ œ j Ó . & œ œ œ œ #œ nœ œ œ #œ nœ œ nœ œ J œ œ . œ œ #œ œ œ #œ ˙ 0 1 0 0 3 2 0 2 1 0 0 2 2 4 3 321 0 Ó . 3 0 1 2 3 J J .

44 Flatpicking Guitar Magazine March/April 2012 PICKIN’ FIDDLE TUNES by Adam Granger photo here Sandy ‘n’ Salty

Grteetings, plano-plectral devotees everywhere. This time, I’m having a little more schematic fun with my book, Granger’s Fiddle Tunes - for Guitar, specifically, sequential fun. I’ve lifted four contiguous tunes from the collection in the order in which they appear. Two of the titles are EASY

salt-related and two sand-related, ergo my column title. TAB

is like conventional

The first is well-known to experienced flatpickers, being one of the its as note eighth the uses standards, an old Appalachian tune which was in the first wave of Doc Wat-

READING

Easytab tablature, except that timing no- tation has been streamlined and simplified. Since fiddle tunes are tunes fiddle Since simplified. comprised mainly of eighth notes, notes, eighth of mainly comprised Easytab Easytab basic unit. An eighth rest is indi- is rest eighth An unit. basic cated by a dot. Therefore, a note with a dot after it is a quarter note, note, quarter a is it after dot a with and a note with three dots after it is a half note. There are a total of total a are There note. half a is son offerings. The second I got from the legendary northwestern Missouri measure. per rests and notes eight fiddler Cyril Stinnett. The third and fourth are also old time standards from

over Kentucky way: their titles likely refer to the Sandy River separating - - - Kentucky from West Virginia. Sandy Road is essentially identical to one of the Fiddler’s Dreams Include You likely know Salt Creek and likely don’t know the other three;

that’s the kind of delicious juxtaposition alphabetization creates. FOR There’s nothing unusual about any of these tunes: they’re 32-bar in this alternating pattern. pattern. alternating this in (square) tunes played in the first position, with a couple of exceptions, BEGINNERS about which more later. Okay, grab your plectra and let’s have a go: style: Pick with an alternating down-up-down-up-down-up mea each of note first The etc. sure should be a downstroke, the last an upstroke. rests play sync”, “in you keeps This beats, ing downstrokes on the so that, no matter what the con figuration of notes and rests in an eight-unit measure, the right down-up- them plays hand down-up-down-up-down-up. SALT CREEK (aka SALT RIVER) KEY: A(2) I G C F D G C D G 01310 01••• 01•3 301230 0•000•00202 20 020 020 0•000•00202 20 0• • • • 3 3 320•02 2• •

II G F G F D G 3• 3•••735303••1310 01310 010 3• 3•••735303••1310 3 3 3 3 3•3 3 301230 • 20 0• • • 2• •

SALTY RIVER REEL KEY: A I G C G D G C G C D G 30 30 • • 310 0 10 310 0 0•0242420• 200 0 0 02 2 20•0242420• 200 0 020 0020• • 24 0 0 404 0 2 •

II C G D G C G D G 0•0 02300 0•0 02300 03 3 3013•30 3 3013•30 • • 2•0242042404240• 2•024020 0020•• 2 •

45 Flatpicking Guitar Magazine March/April 2012 SANDY RIVER BELLE (aka SANDY RIVER) KEY: C I C G C F G C 0• 0 0 0• 1 1 13 3• 1 31 3••• 1 1 13 3• 1 1 •02 020 0 0 02 020 0 02 020 0 0 02 202 20 • • 2 2 2 202 • 3•••

II C Am C F G C

1 1 • 2•0• 020 02 202 20 • • 020 20 02 020 020 020 20 2 23 202 • 03 3 3 03 3 320••• 03 3 3 3••• 3 3 3

SANDY ROAD KEY: G I G C G D G C G C D G 02353•3573530 7375303730 • • 03 3•• 30 0 0420 0 02 20 0 0 02 0240• • 0 2 2 4 2 0 0 4 2 0 0 2 4 • 2 2

II D A D A D 02 25320 0320 02 25320 0320 03 3 323 30 03 3 323 3•3• 20 2• 2• 02 20 02 2 2 • • • • 4 4 4 4 404 404

SO, LIKE, WHAT’S WITH THIS 3-5-7 BUSINESS? Two of these tunes have extended 3-5-7 fingering This is a mighty big price to pay: it is at least as instrctions. This reach may at first be daunting if you’ve hard to tear half a foot up the neck to play the figure there never tried it before, but, with a little patience and prac- as it is to simply learn 3-5-7. tice, I’ve seen very small hands learn to do this, and it’s (If this is initially just too hard, allow your hand important to do so. to make a little lateral shift between the third and seventh Now, either I’m a masochist or there’s a good rea- frettings, and then work toward making the reach without son for my reommendation. Fortunately for all of us, it’s lateral movement.) the latter: It is very common for a fiddle tune to have the Equally importantly, there is a timbre shift from third tone of the scale as its high note (generally but not lower-neck notes to upper-neck ones. This shift can be always in the second, or “high” part). That means that G very effective, and it automatically occurs when one plays tunes often have a high note of B, at the seventh fret of the extended passages up the neck, but constantly to be shift- high E string. (Concomitantly, A tunes capoed two have a ing up the neck simply to reach one lousy (albeit very high note of C#, at the ninth fret of the high E string.) important) seventh-fret note is to lose control of the tone If we don’t learn to stretch our left hand to make of your tune in exchange for supposed expediency. Play- a 3-5-7 reach, we’ll have to move up to the 7-10 fret posi- ing 3-5-7, the only note potentially thus affected is the tion and play the three notes in question (i.e., G, A and B) seventh-fret note, and the natural properties of the high E up there: eighth and tenth frets on the B string and seventh string strongly mitigate that effect. on the high E string.

When Adam was a child, he was told he needed eye surgery to straighten out an eye that went inward. He was scared and wouldn’t do the procedure, and, for the next fifty years, lived with it. At his last eye exam, he casually asked if that procedure was available to adults, and was told yes. Thus, in December of 2011, Adam underwent strabismus surgery, wherein the doctor repositions certain groups of muscles to yank the eyeball into proper position. Adam knew the surgery was a success the minute he opened his eyes in the recovery room and saw only one ceiling light. It was the first time in his life he was able to focus both eyes on one object simultaneously.h Adam is a happily married heterosexual man, but he thinks he loves his surgeon.

46 Flatpicking Guitar Magazine March/April 2012 Bill Bay Presents Kaufman University Coming Near You! Flatpicking Up-The-Neck www.flatpik.com Steve Kaufman Key of A Three Time National Guitar Champ

The World’s Guitar and Stuck in the Kitchen Mandolin Teacher A Decade of Gold In this issue we play in the key of A, 4th Awards for the Best Camps and Conferences position. The A major scale in 4th position is shown above the piece “Stuck in the Upcoming Workshops and Concerts

Kitchen.” The piece is a lively fiddle tune  Reno, NV - April 12-15 with an “A” and a “B” section. Play it freely Mando/Guitar Workshop - Concert with a swing feeling. [email protected] or 775-847-0254

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Flatpicking Guitar Network  Gandeeville, WV - May 11-12 RobinFest Festival

http://flatpick.ning.com/  Littleton, NH - May 18-19 Guitar Workshop and Concert 603-444-7776 or [email protected] FGM Records Presents: Open Dates for the Upcoming Year: November 2-3, 2012 November 17-18, 2012 Andy Falco January 19-20, 2012 February 1-2, 2013 Sentenced to Life With the Blues March 8-9, 2013 May 3-4, 2013 This is a long awaited recording See how easy it is to arrange a from one of the top young flatpickers Steve Kaufman Workshop Weekend in Nashville, the Infamous in your area. Stringduster’s Andy Falco, and Write [email protected]

includes some of Nashville’s most Steve’s Complete Tour Schedule, outstanding bluegrass performers in support, including Josh Williams, Best Selling DVDs, Books, CDs, Cody Kilby, Adam Steffey, Luke Freebies and Full Details at - Bulla, Jason Carter, Andy Hall, www.flatpik.com Noam Pikelney, Jim Van Cleve, Or Call Andy Leftwich, Alecia Nugent, Rob Ickes, Tim Dishman, and more. 865-982-3808

Send for your Call 800-413-8296 to Free Catalog! Order P. O. Box 1020 Alcoa, TN 37701

47 Flatpicking Guitar Magazine March/April 2012 A Scale — 4th Position 1 ˙ # # 4 œ œ œ œ & # 4 œ œ œ œ œ œ œ œ œ œ 4 5 5 7 T 4 6 7 A 4 6 7 4 5 7 B 5 7 Audio CD Track 35 Stuck in the Kitchen Written by Bill Bay

A DA E7 5 œ œ # # œ œ œ œ œ œ & # œœœ œ œ œœœ œ œ œ œ œ œ œ œ 5 4 5 5 7 5 5 4 6 6 4 6 4 6 7 4 4 77 77 6 7 6

A D A E7 A E7 A 9 ˙ œ œ 2 œ œ ˙ Fine # # œ œ œ œ œ œ œ œ œ & # œœœ œ œ œ œ œ œ œ œ ˙ . œ

2 Fine 4 5 5 4 5 5 4 7 5 5 7 7 7 5 4 6 7 6 4 6 4 . 6 77 7 7 6 7 . F#m Bm F#m Bm C#7 14 # ## œ œ œ œ œ œ œ œ œ œ œ œ œ ˙ & œ œ œ œ œ œ œ œ

7 7 5 7 7 6 6 4 4 6 4 646 7 6 4 7 6 7 7 4

F#m C#7 F#m E7 18 # œ œ œ D.C. al Fine ## œ œ œ œ œ œ & œ nœ #œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ nœ #œ Œ D.C. al Fine 4 5 4 7 4 6 6 4 6 7 6 4 4 3 4 6 7 6 7 7 7 6 4 6 7 4 6 3 4 Œ

48 Flatpicking Guitar Magazine March/April 2012 John McGann's Eclectic Acoustic Tango Derrane: Part 4

Here is the fourth section of “Tango This section is based in the key of G, Derrane” (at 1:50), from the recent duo although the second chord is out of the key album Grove Lane (Compass Records) I center (F#7). I voiced the next G as a G6, recorded with my good friend, National since it felt right. We move through a few Heritage Fellowship winner, and Irish more “normal” E and Am chords, to the button accordionist extraordinaire Joe D7 and D7/A. The slash indicates a chord Upslide has been recently re-released and Derrane. over a particular bass note, also known as a is available via Amazon.com and CDBaby. Joe provided me with a “lead sheet” “chord inversion”. The next little turnaround com as well as his own website. There are which was three pages long. He notated uses a G6 to Go7 (G diminished 7th), Am also two transcription folios available the melody and wrote in suggested chord to D+ (D augmented). These chords would for “Upslide”, in guitar and mandolin symbols, which I was free to interpret in be heard in any jazz music from the 1920s editions, downloadable at http://download. my own way. Since Joe is a well rounded onward, and would also be right at home in johnmcgann.com/digStore.cfm. You can musician, he was able to conceive of the a Brazilian choro. check out his custom transcription service, actual chord changes to go with the melody, The second half of the section repeats the in which you can have any music of your not always the case among Irish musicians. basic material from the 1st half, with a stop choice notated, at johnmcgann.com. Drop We ran through the tune a few times, as the time G replacing the turnaround, and the B7 by the web site for more bio info, and lots form was a bit long and unusual, and then leading us back to the A section. of great free technique tips for flatpickers. “rolled tape.” I was also the engineer on the I hope you’ve enjoyed Joe’s innovative recording, which means I leaned over and “Tango Derrane” and maybe you’ll have a hit the record button on my laptop! few new chord voicings for good measure. I can’t claim much pre-planning in terms of what I would do, so in every way, the John McGann (www.johnmcgann. rhythm performance is an improvisation, com) is a Professor at Berklee College of and much the way that bluegrass backing Music. His duo CD Grove Lane with Irish Learn the tunes and solos of would be: you know the chords you are accordion legend Joe Derrane was voted your choice,in any format. going to play (if not the specific voicings), #1 Irish Traditional Album of 2010 in The At your own speed! but your right hand patterns will probably Irish Echo. His DVDs Rhythm Tune Up vary from verse to chorus, etc. I have written and Rhythm Mandolin and his books Sound The Original Custom the basic voicings, rather than notating all Fundamentals and Developing Melodic Transcription Service the rhythms or bass lines, so you’ll want to Variations on Fiddle Tunes are receiving refer to the recording to get the details. It’s great accolades. John’s first solo album All styles and instruments: all about the ear! flatpicking, fingerstyle, fiddle tunes, bluegrass, swing, jazz Flatpicking Guitar Workshops I can also create custom arrangements. Tim May and Dan Miller, authors of the 8-Volume Private lessons available via cassette, custom tailored to Flatpicking Essentials Guitar Course, are your needs–learn crosspicking, continually touring the country teaching a variations, improvisation, rhythm variety of flatpicking workshops. To see if they styles, repertoire will be visiting a town near you, please visit: Berklee graduate, professional www.flatpick.com/workshops. recording and performing artist. Tab and/or standard notation. Details and flatpicking tips on the Web: Check Out Tim & Dan’s Mid-west Tour in http://www.johnmcgann.com March and April 2012 John McGann If you would like to host a workshop, contact P.O. Box 230267 [email protected] Boston, Ma.. 02123 (617) 325-6853 49 Flatpicking Guitar Magazine March/April 2012 Audio CD Tango Derrane Arranged by John McGann Track 37

G F#7 G6 E7

# 4 w #w w & 4 w # w w #w w w w 3 w w 3 2 3 0 T 4 3 4 1 A 5 2 2 2 5 2 B 3 2 3 0 o A m D7 D7/A G6 G 7 A m D+ 5 # w ˙˙ ˙˙ ˙ bb˙ ˙ ˙ & w ˙ ˙ ˙ ˙ ˙ b˙ w ˙ ˙ ˙ ˙ ˙ ˙ 0 1 3 3 3 2 1 3 2 5 5 2 3 2 3 2 4 4 2 2 2 4 0 5 0 5 5 3 3

G F#7 G6 E7 E7/B 9 # w w w ˙ ˙ & w #w w #˙ ˙ w w ˙ 3 w ˙ 3 1 3 4 3 4 7 7 5 2 2 6 6 5 7 7 3 2 3 0 7

A m D7 D7/A G B7 13 # j w ˙˙ ˙˙ œ ŒÓ Œ. & w ˙ ˙ œ #œ œ w ˙ œ œ œ œ œ 1 3 3 2 5 5 4 2 2 2 4 4 5 . 1 1 0 5 5 ŒÓ Œ 2 2 5 3 3 2 J

50 Flatpicking Guitar Magazine March/April 2012 Bluegrass Guitar by Steve Pottier

More Essential Bluegrass Guitar percent of the time he uses a two note G run (discussed in an earlier column), but here he Most of the time lead guitar is optional steps out with a notier version, plus some in a bluegrass band, but there are a few syncopated chord strumming. iconic guitar parts that every bluegrass Some tips on playing this G run: guitar player should know. One is the guitar Remember that Lester played with a thumb pick, so you can expect all down strokes riff that starts every break in the Stanley This tune has a lot more room for on the run. Brothers’ song “If I Lose.” Carter sings it improvisation and flashier breaks, but it’s Also, expect that they would all be rest in C, with this guitar part played out of the still worthwhile learning Lester’s break, if strokes. In practice, I play all rest strokes A position capoed at the 3rd fret (see the only to be able to quote it for your buddies’ except for an up-stroke on the open D string transcription on the next page). It’s almost edification. Check out Doc Watson’s breaks after the slide. You can use either a slide all downstrokes, with upstrokes on the 2nd on the Flatt & Scruggs album Strictly or a hammer-on; I like the slide. The open note in all of the E measures. Although Instrumental. Now there’s some flatpicking! I’ve been writing a lot about the rest stroke A string is picked, as well as the note that and you can use it or not on this particular begins the slide. This is important!! I often break, it’s not an essential feature of the see this played as a double hammer-on, and technique here. the result is usually weak and undefined. If you play any Stanley Brothers material, The extra picked note gives the run a lot this break is a must-know: it’s the hook! A more punch. Finally, the pull-off is really note of caution here: in this day and age it’s de-emphasized to the point that you don’t tempting to think that this is too simple, that hear it every time, it’s kind of a ghost note. it would be easy to make a flashier break. It’s OK to hear it or not, but it’s not a main Don’t. Try to imagine what it would be like feature of the run, so don’t try to make it as to fit into the Stanley sound. This riff fits loud as the notes before and after. perfectly with that sound. In fact it’s brilliant The syncopated strumming on the C because it so memorable and essential to chord begins with an up-stroke on the first the song. I wish all of my breaks could be strum where you would expect a down- like that! stroke. This is to get the sound Lester gets Another essential guitar part you should when (I think) he must be using his first know is Lester Flatt’s break to “Foggy finger (with fingerpick) to get the strum. Mountain Special” (also shown on the The second measure of C strums is all next page). Everyone should be able to down-strokes. In the second D measure,use play this break. It features a version of the down, up down, up down and dampen the www.flatpickingmercantile.com G run seldom used by Lester. Ninety-five chord by lifting your fingers up a bit (hence 800-413-8296 the open notes).

The Guitar Player’s Practical Guide to Scales & Arpeggios by Tim May & Dan Miller

This new 160 page book (with 136 audio tracks on 2 CDs) by Dan Miller and Tim May not only teaches you how to learn scales in a way that is easy, fun, interesting, and informative, it also shows you how to practically apply scales when learning new melodies, embellishing those melodies to create your own solos and variations, and in exploring improvisations. The scale study method in this book uses six phrases as follows: 1) Scale pattern study and practice 2) Melody recognition practice 3) Improvisation practice 4) Scale mode practice 5) Scale interval practice 6) Ear training practice

The book is broken down into four sections (“The Big Four”): straight scales, folded scales (scale patterns), harmonized scales, and crosspicking arpeggios. By presenting scale and arpeggio knowledge in these six phases and four categories, the authors are able to clearly demonstrate how a knowledge of scales and arpeggios can be easily and practically employed.

51 Flatpicking Guitar Magazine March/April 2012 Audio CD If I Lose Tracks 40-41 Arranged by Steve Pottier A E A 1 # # 4 & # 4 Ó j j œ ( ) ( ) œ œ œ . nœ #œ œ . œ nœ #œ œ œ œ œ œ œ œ œ T A Ó B 2 0 0 4 2 0 . 3 4 0 . 2 3 4 4 ( 5 ) 4 ( 5 ) 4 2 E J J A 6 # # & # j j œ ( ) ( ) œ . nœ #œ œ . œ nœ #œ œ œ œ œ œ œ ˙

2 0 0 0 0 . 3 4 0 . 2 3 4 4 ( 5 ) 4 ( 5 ) J J Audio CD Foggy Mountain Special Tracks 38-39 Arranged by Steve Pottier

G C7 1 œ œ œ œ ( ) # 4 ( ) j œ œ #œ œ (œ )œ œ #œ œ œ œ œ & 4 œ œœ œœ œ œ œ œœ œœ œ œ œ œ œ œ œ œ œ œ œ œ #œ œ œ œ #œ œ œ J 3 3 3 3 P 0 P 0 1 1 ( 1 ) 1 1 1 1 1 1 T ( ) S 00 0 S 00 0 3 3 3 3 3 3 3 3 3 3 A 0 2 0 0 0 2 0 0 2 2 ( 2 ) 2 2 2 2 2 B 0 1 2 0 1 2 3 J 3 3 J G D G 7 # œ œ œ œ œ œ œ œ œ & œœ œ œ œ œ œ œ œ œ ˙ Ó œ œ œ œ ( ) J J œ œ œ œ œ #œ œ œ œ œ œ œ #œ œ 3 3 2 2 2 0 2 0 2 P 0 3 3 3 0 3 0 3 P H 00 0 2 2 2 2 2 S 0 S 0 2 0 0 0 2 0 Ó 0 1 2 2 3 ( 0 ) J J 0 1 2 3 3

52 Flatpicking Guitar Magazine March/April 2012 Things I (Accidentally)

Audio CD Did Right Track 42 by Dan Crary

When I started playing in 1952, I had no A little background: in the mid-50s there that sometimes, when something comes out idea I’d be writing this column for FGM in were no other steel string guitar players differently, it turns out to be musical. My 2012, but I knew something was up, and around me in Kansas City, and virtually mistake in “Jimmie Brown The Newsboy” I never forgot the moment I held my first none on records or the radio that ever turned out to be a pretty ¾ time lick.* My guitar. About ten minutes after that moment, played leads (maybe the only exception, youthful ignorance about Flamenco playing I broke my first string. So for a half century Hank Snow). So I kept the radio on and led to a cool rasguedo* lick for the flatpick. and more, I would remember the “first kept a Webcor wire recorder handy in case An accidentally muted chord eventually guitar” moment, and I would change about anything like guitar music came along. And produced a rhythm lick* I use all the time. a thousand broken strings. Just proves we if I saw an acoustic guitar record in a store As the old joke goes, “Once I thought I made should pay attention to these little omens. (it would be a rare classical or flamenco LP), a mistake, but I was wrong.” So I took some guitar lessons from Ernie I begged my folks to buy it, just because it TDR list #3 would be, pay attention to Caudill, a Kansas City accordion and guitar had a picture of a guitar with a round hole bits and pieces of music. We have talked guy who was a particularly good teacher, but in the body, not because I had any idea what so long about “licks” and “runs” in guitar who, after a few months despaired of getting the music would be like. In a world like that, music that we have lost sight of the fact that me to practice like I should. He was a pop I stumbled on to some helpful things, call it these bits and pieces of music are actually music guy, I was country and folk. my TDR (Things I Did Right) list. little tunes: If you get them in your head So rather stupidly, I quit lessons and #1 on my TDR list: I listened to a lot of by thinking of them as short tunes, you can wound up teaching myself by just messing different kinds of music, and the feeling of remember them better, and find them again around with the guitar, listening to the radio, them stayed with me. I got at least a little of in any key. My “Piano Blues” run* is one I exploring things my hands found on the country and classical and pop music, later heard a piano guy play about 45 years ago; guitar, and sort of stumbling forward. Of early rock ‘n roll in my playing. So Dean another, the “two-strings-in-harmony” run* course, one way or another, we all teach Martin’s “Memories Are Made of This,” has proved to be useful in multiple keys and ourselves: I should have continued lessons Hank Snow’s “I’m Movin’ On,” Segovia’s situations. with my teacher and learned some theory “Leyende,” Sabicas’s “Bulerias,” and later Last (#4) on the TDR list: visualize and positions and chord structure. It would Elvis’s sideman Scotty Moore’s “Mystery yourself in front of an audience, and get have moved things a lot faster, but at that age Train,” all got under my skin. As I fooled ready to present some polished tunes or I wasn’t very wise about it, so I quit lessons, with and basically failed to play these great songs to that audience. Today I don’t know but kept playing. Since then, I have devoted pieces, something in them remained. I do why I did this as a youngster; I didn’t a part of my life telling workshop attendees not in any way equate myself to these giants, have an audience, didn’t intend to play the mistakes I made. There were quite a few, but instead I’m grateful for their influence. professionally, but I do remember trying to so a list of better ways to do things makes a The power of what they did made me want “get up” some songs and tunes just in case. pretty good workshop or an FGM column. to pick up a guitar and look for something Then, last year, after 50 years, I actually On the other hand, somehow I actually cool to play. I think we all need to have that recorded one of those pieces I learned in did figure out how to play the guitar, I’m same experience. So as you teach yourself 1958 off an old LP by the great Odetta: still enjoying it, and I still get a charge how to play, find different kinds of music ‘‘Sail Away Ladies” is the first cut on my out of helping other people play the guitar that moves you, try different ways to find the new Blue Night Records CD, Perfect Storm. and experience the beauty and joy of the same feeling on the guitar. Eventually (and I fought with that tune for 50 years, until I thing. Accordingly… oh no, sorry, I mean this is important) you wind up sounding finally got it out there. It took a while, but guitaringly, while my job is to warn you like yourself. So #1 on the TDR list: listen it actually paid off over the years, because away from the mistakes I made, still there to a lot of different kinds of music and be struggling to get music ready to perform must have been a few things I did, maybe influenced by them. is an important goal of practice. It makes accidentally, that turned out to be good. So TDR list #2: Make mistakes. Then, you, the guitar player, better and better… to accentuate the positive in this column, make them again. One year at the Telluride sometimes, very slowly. here are a few. I claim nothing wonderful bluegrass festival guitar workshop Doc There’s a term for it: It’s called teaching about my own playing here, only that long Watson put it succinctly: “If you make a yourself how to play the guitar. experience counts for something, and mistake, go back and repeat it so people occasionally there is the good stuff. will think it’s part of the arrangement,” *Examples that appear on the CD. said Doc. One TDR I learned as a kid was 53 Flatpicking Guitar Magazine March/April 2012 CD Highlight Zeb Snyder & The Snyder Family: Stages by Dan Miller

In July of 2011 I attended the Red, White, actually hear Zeb step away from the Rice and Bluegrass Festival in Morganton, North style and into his own powerful and bluesy Carolina, and was thrilled by the display of style from one track to the next. flatpicking talent that I saw at that show. I have nothing against the Tony Rice I was excited to see that Tony Rice was style of flatpicking. Tony is one of my all- performing with Mountain Heart because time favorites. He is one of my flatpicking not only did I get to see and hear Tony play, heroes. However, there is only one Tony but I got the opportunity to hear him play on Rice and Tony himself will encourage stage with this issue’s cover story artist, Jake young players to find their own voice. Stargel. Additionally, Cody Kilby was there It is natural for younger players to copy with Ricky Skaggs and Kentucky Thunder what they hear from their heroes. That is a and I always love to hear Cody play with phase that almost every player transitions that band. I also had the chance to visit through. In listening to Stages, it appears with one of my flatpicking heroes, George to me that Zeb Snyder is already well on Shuffler. The festival is close to George’s first tune “Stages.” The second cut was his way to developing his own voice, and home and he was there all weekend enjoying the original instrumental “Goose Down from what I can hear on this disc, it is a the music. Additionally, Chris Jones was Pillow.” Again, this one demonstrated a voice that flatpicking guitar fans are going there with his band, Tim Stafford was there Rice influence, as did the next instrumental, to want to hear. with Blue Highway, Josh Williams with his cut four titled “Original Untitled” and the When asked about his approach to the band, and Larry Sparks also performed. As tune on track five, “Daddy’s Gone,” also solos on this recording, Zeb said, “I’ve if all of that wasn’t enough, I discovered a had a Riceolian flavor in the guitar solo. been working to develop my own identity. few new talented flatpickers at the event. Then, when the CD reached track six, it was I copied the Tony Rice style for about two One was Caleb Smith, with Balsam Range almost as if a different guitar player entered years, so sometimes it is hard to keep it out (who we featured in the September/October the studio. This track was a bluesy cut titled of my playing, especially in 4/4 bluegrass 2011 issue), and the other was Zeb Snyder “Creekside.” From track six on I felt like I songs. Now I’m trying to use the Tony Rice of the Snyder Family Band. was hearing less Tony Rice and more Zeb licks that I know as a springboard to my own The thing that impressed me about the Snyder. The bluesy approach was still there, stuff. A lot of times I’m consciously thinking Snyder Family was the band’s energy and but the Tony Rice style phrasing was gone. about how to not play like Tony.” the maturity of the playing that I heard On track seven Zeb opted to play “I Am My three favorite cuts on this recording from Zeb (age 16) on guitar and his sister a Pilgrim” fingerstyle, which was a good are “Creekslide,” “Call Me the Breeze,” Samantha (age 12) on fiddle. Their playing diversion. On track eight, my favorite track, and “Lord Don’t Forsake Me.” When I was clean and their arrangements were Zeb plays and sings the J.J Cale tune “Call mentioned to Zeb that I really liked the tasteful and interesting, especially given Me the Breeze.” Zeb takes a nice funky bluesy flavor of these tunes and noted a their age. The band was entertaining and bluesy solo and Samantha really tears it up comparison to Charles Sawtelle’s style in they had a great stage presence. If I had to on fiddle. (Is this girl really only 12?) Track “Lord Don’t Forsake Me,” Zeb said, “I had grade Zeb’s guitar playing during the show nine is a wonderfully written and executed been listening to the Hot Rize album Take I would give him very high marks for tone, waltz. Both Zeb and Samantha shine on this It Home before we recorded that song and clarity, speed, volume, dynamics, and all one, great tone and note selection on Zeb’s I was thinking about Charles Sawtelle’s of the things that you want to hear out of a solos. The remainder of the CD consists simple and syncopated style when I played flatpicker. To my ear, he was definitely still of a gospel tune “Lord Don’t Forsake Me” on that cut.” Zeb obviously has a great hear in the Tony Rice phase of his development. on track ten and two instrumentals “Sarah and an ability to translate what he hears onto But most young players go through that Joy’, written by Zeb, and “Angeline the his guitar. As he keeps listening to other phase, so that didn’t detract from his talent Baker.” On “Lord Don’t Forsake Me” Zeb players and blending their styles with his because I was sure that he would find his not only takes nice bluesy solos, but does own ideas, I have no doubt that the Zeb own voice as he gained more experience. a great job weaving tasteful fills in with Snyder style will be something that will In December of 2011 I contacted Zeb and Samantha’s vocal lines. “Sarah Joy” has a continue to develop and grow. asked if he would send me the band’s newest few hints at the Rice style, but not near as Zeb Snyder started playing the guitar at recording, Stages. When I started listening much as you hear on the first several cuts on age seven. He began his study with classical to the CD I found, on the first five cuts, what the disc. On “Angeline the Baker” there is guitar lessons. He and Samantha started at I had expected to hear after my experience not much of a detectible Rice style. For the the same time with the Suzuki method, Zeb hearing the band live in North Carolina. The most part Zeb plays the melody, with a few on guitar and Samantha on violin. Their playing and singing was clean and powerful. nice embellishments here and there. While parents were not string musicians but felt Zeb takes a Rice-style solo to kick off the listening to this recording it is as if you can like they wanted Zeb and Samantha to have

54 Flatpicking Guitar Magazine March/April 2012 experience playing music. When asked and he taught me about phrasing. A lot of Carolina. Harkey heard the band play and about learning how to play bluegrass, Zeb times I would just watch what he was doing asked if they would do a short set on the said, “Dad was a bluegrass fan and I heard and ask questions. The lessons were like main stage. He wedged them in between it around the house. But I didn’t try learning high energy jam sessions with instruction performances by J. D. Crowe and Rhonda how to flatpick until my sister started thrown in.” Vincent. Zeb also had the opportunity to playing Irish fiddle music.” When Zeb In addition to performing as a duo, the meet Tony Rice at that festival. Zeb said, was about nine years old he and Samantha Snyder kids also started attending festivals “Milton Harkey introduced me to Tony started performing duet shows in and around and jam sessions. In fact, they attended a jam and wanted me to play something for him. their home in Lexington, North Carolina. every Saturday, starting when Zeb was 12, I played ‘Gold Rush’ note-for-note like Samantha’s teacher had started showing at the Cook Shack in Union Grove, North Tony had played it on a recording. Tony her Irish fiddle tunes to help broaden her Carolina. Zeb said, “The jams were family heard it and said, ‘Who you been listening abilities on the violin. Initially, Zeb simply friendly and I could always find someone to to? Dan Crary?’ I also got to meet Wyatt learned how to play rhythm on those tunes sit beside who would show me the chords. Rice that weekend and jammed with him.” so that he could back up Samantha during I could blend into the background and feel Since that time the Snyder Family has their shows. comfortable while I figured out the songs.” performed at Merlefest, the Red, White & Zeb first tried to learn flatpicking lead Eventually Zeb and Samantha started Bluegrass Festival, the Rhythm & Roots from a Doc Watson instructional video adding more and more bluegrass into their Festival in Bristol, Virginia, and they have when he was about eleven. The material duet show until it was ended up being all showcased at the International Bluegrass was a little challenging for a beginner, so his bluegrass and fiddle tunes. When the sibling Music Association’s annual conference. parents found him an instructor, Tim Moon, transitioned to an all bluegrass show their This year they will be back at Merlefest and in Asheboro, North Carolina. It was Tim dad, Bud, joined them on bass. Zeb said, will also be performing at Silver Dollar City Moon who introduced Zeb to the playing “At first Dad didn’t think he could do it, but in Branson, Missouri. of Tony Rice. Zeb said, “Tim taught me to I talked him into it and we got him a bass Stages was released in September 2011. use a heavier pick and have more strength for his birthday. He played drums in high It was the band’s third recording. The and attack and use proper pick direction. He school, so he had good timing.” recording includes Zeb on guitar, mandolin, would show me a tune, then show me how to The Snyder Family Band started to gain and vocals; Samantha on vocals and fiddle; improvise on that tune. He taught me song momentum after they played on an open Bud on upright bass; and Mom, Laine, on arrangements, but then also taught me licks mic stage at Milton Harkey’s Bluegrass harmony vocals. The last track of the CD, that I could drop into those arrangements First Class festival in Asheville, North listed as a bonus track, features Zeb and The Hoodie Guitar Cover

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55 Flatpicking Guitar Magazine March/April 2012 Samantha’s five-year-old brother Owen on vocals. Owen is also featured in the band’s stage act. At the Red, White, and Bluegrass Festival little Owen stole the show. Five of the tunes on Stages are Fiddle Tune original and two others were written by songwriter friends. Seven of the 13 cuts are instrumentals. Zeb plays a mahogany Practice Tracks Henderson shade-top guitar that he has owned for about a year, and he also used that guitar when recording Stages. On this For All Instruments issue’s audio CD, we feature Zeb’s original tune “Goose Down Pillow.” A transcription Tune List Disc 1 Tune List Disc 2 of this tune can be found on the following 1. Arkansas Traveler 1. Old Joe Clark pages. 2. Bill Cheatham 2. Red-Haired Boy Zeb Snyder and the Snyder Family Band 3. Billy in the Lowground 3. St. Anne’s Reel have what it takes to become a very popular 4. Blackberry Blossom 4. Temperance Reel band on the bluegrass circuit. They have 5. Cuckoo’s Nest 5. Turkey in the Straw talent, drive, enthusiasm, and they know 6. Fisher’s Hornpipe 6. Whiskey Before Breakfast how to entertain. I predict that you will be hearing a lot about this family in the near future and that you will continue to hear www.flatpickingmercantile.com about Zeb and Samantha as they continue to dazzle crowds with their virtuosity. They can both write, sing, and play the heck out of their instruments. If you get a chance to hear them at a festival or venue near your town, don’t pass it up. To find out more about this band, please visit their website: www.Flatpick.com http://www.snyderfamilyband.com.

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56 Flatpicking Guitar Magazine March/April 2012 Audio CD Goose Down Pillow Written by Zeb Snyder Track 43 Transcribed by Alois Kleewein D D F G q = 280  Part A                         E  B 3 3 G 0 1 2 1 0 0 0 2 0 2 0 0 D   0 3 0 0 3 3 4 0 0 0 2 3 2 3 3 3 5 5 A  0 3 0 0 3 3  D 0

G F C Bb D D D 6                               3 1 1 3 3 0 0 0 0 0 3 3 1 0 0 0 1 2 1 0 0 5 0 3 2 3 0 3 3 3 0 0 0 3 0 0 3 3 3 3 0 3 0  0

D F G G F C Bb 11                             3 3 3 3 1 1 3 0 2 0 0 0 0 0 0 0 0 0 3 3 4 0 0 0 2 3 2 3 3 3 5 5 5 5 3 2 3  0 3 3

D D Bm Bm C 16  Part B                      0 1 0 0 2 4 2 0 2 0 3 3 3 0 0 0  2 3 4 4 3 2 2 0 2  3 0 3 5 2 5 5 5 2 0 2 3

C D D D D 21                   0 1 1 2 0 0 1 2 1 0 1 0 0 3 2 0 0 0 0 3 3 3 3 4 0 0 0  3 0 3 5 3 0 3 3 0 0 3 5

57 Flatpicking Guitar Magazine March/April 2012 Goose Down Pillow (con’t)

Bm Bm C C Bb 26                                   2 1 0 0 3 3 0 0 1 1 3 4 2 0 2 0 3  3 3 3 4 3 2 0 2  2 3  3 3 3  5 2 0 2 3    Bb A7 A7 D D 31 Part A                              3 0 0 1 2 1 0 0  0 1 2 1 0 0 0 3 0 0 3 3 4 0 0 0 2 1 3 3 1 0 3 3 0 0 3 0 0 0 3 3  0

F G G F C Bb D 36                       0 1 2 0 1 3 3 1 1 3 1 1 0 2 0 2 0 0 0 1 2 2 2 2 2 0 0 3 2 3 3 0 3 0 3 3 3 4 0  3 0

D D D F G 41                             

0 1 2 1 2 1 0 0 0 2 0 2 0 0 5 0 0 3 4 0 0 0 0 3 3 4 0 0 2 3 2 3 3 0 3 0 3 7  0 3 3

G F C Bb D D D 46                               6 5 5 7 7 7 5 7 5 1/4 7 7 7 5 3 5 3 0 0 3 4 0 0 0 0 3 3 0 3 3 0  3 0

58 Flatpicking Guitar Magazine March/April 2012 FIND “YOUR” VOICE By Kacey Cubero

Editor’s Note: Singing and guitar playing I was committed to not only the lyrics and go together like peas and carrots. To date melody but also the message. believe incorporating your voice can only this magazine has been focused on teaching Now, many years and live stage improve your playing, confidence, and your you how to become a better picker, but we’ve performances later, I realize I still do performance overall. never offered anything that would help you something similar in my alone time. I might So, take note the next time you are become a better singer. Starting in this issue be walking down the street, having a bad humming along to some song in your head we are going to change that. I’ve asked our day, and I find myself singing something or on the radio. Ask yourself what you’re friend Kacey Cubero to write a short column subconsciously that in it’s own way eases feeling and notice that you just naturally for each issue that will help you learn how the pain of the moment, soothes me on some gravitated toward your voice in the moment. to better use your singing voice. Kacey is level. On another day, it’s all I can do to pay Why? I’m not sure. But I know it’s one of not only a great singer, but she also spends attention to my driving as I crank the radio the greatest gifts we are all given, precious a lot of time teaching people how to sing at full blast, moving and grooving to an old to each of us. a studio in Ventura, California. She knows favorite, singing at the top of my lungs with Until next time... her stuff! a big smile on my face, and feeling about as Some of you may think that you have a good in that moment as one can feel. terrible singing voice and so you may not What I realize is the universal thing have any desire to sing. However, learning about music, about singing especially: it’s to sing can help you guitar playing! If you incredibly cathartic, a kind of healing from have read this magazine for a while you within. And every voice is unique. Think have seen columns by Dan Crary, Brad about it: it’s the only instrument that is Davis and others that encourage you to unique to the body, the person from which learn how to sing, hum, or whistle every it comes. You are your intstrument. No two new tune, lick, or phrase before you play it voices are exactly the same. How amazing on your guitar. So, using how to use your is that?! voice can certainly help you be a better Many organs and muscles contribute to singer, but it can also help you become a the human body making sound, and we’ll better guitar player. get into that down the line when we talk This column is an introduciton to Kacey’s about technique and breathing. general philosphy about learning howt sing. Now back to your personal instrument. Next time she will start to get into some Sometimes you’ll find yourself humming lessons and exercises. I hope you enjoy this some tune as you’re working and it will, in New! new column! Take it away, Kacey: a sense, be helping you to relax, focus. You don’t have to be a professional to use your As an only child, I spent a lot of time alone voice, to get out the grunts and sounds that FGM when I was a little girl. One of my favorite release something within. That make you things to do was—and still is—singing. I feel something. That are evocative. That would take the antenna off the TV, wad up a lift you up. That indulge a sad moment or Songwriter bunch of aluminum foil and wrap it around celebrate a memorable one. the top of the antenna, and pretend it was my Whether you sing in the shower, church microphone. Dressed in one of my many choir, or professionally, it’s important Sampler “performance outfits,” I’d sing and dance in to explore “your” voice. It’s good for the front of the mirror for hours. Sometimes I’d soul, and if you want to take it to some sing along to something really upbeat and professional level, great. But it doesn’t rockin’, and sometimes the saddest ballads have to be your first instrument. And you FGMrecords.com would engage me into a melancholy trance don’t have to be the best singer out there. as I tried to capture the vibe by both voice For example, many of you pickers may or and demeanor. Whether it was my favorite may not be accompanying yourself with song or one I just had to learn right away, the guitar at present but would like to. I 800-413-8296

59 Flatpicking Guitar Magazine March/April 2012 are playing over the G chord use notes from the G major pentatonic scale, then when the progression moves to C, use notes from the Scale Practice C major pentatonic scale, then when the progression moves to D, use notes from the By Dan Miller D major pentatonic scale. While using notes from the major pentatonic scale in your improvisations is “safe,” it is not all that interesting because One of the easiest scales to learn and utilize As an exercise, familiarize yourself with the sound is so consonant. In order to make when improvising is the major pentatonic the notes of the G major pentatonic scale, your solos a little more interesting a good scale. It is easy to learn because there are then go to this web page: www.flatpick. place to move to is the major blues. In the only five notes. It is useful because when com/essentialsaudio. Download the audio major blues we are going to add one note you are playing over a simple I—IV—V track for the first chord progression and to the major pentatonic scale, a flat 3rd. In chord progression, you really can’t go then randomly play notes from the G major the key of G this is the B flat note (see the wrong. These five notes are very consonant. pentatonic scale over those chords. You’ll scale shown on the next page). This is the Next to playing just the three notes of the see that they all fit very nicely, no matter note that you add to the scale to form the chord, they are the most consonant notes of what order you play them in. classic bluegrass G-run (see Steve Pottier’s the major scale. There is another interesting thing about article on page 51), and this is one of the The reason these five notes form the most using the major pentatonic scale over a notes that you can add to give your solos a consonant sound of the scale is because the I-IV-V progression. Say that you are in the very bluesey sound (see Dix Bruce’s article two major scale half-step intervals have key of G, when you play over the G chord, on page 37). been removed. If you were to analyze you play the G scale, no questions there. You can also add that one flat 3rd blue the major scale in terms of consonace and However, when you are playing bluegrass, note to the C and D major pentatonic dissonance, the most disonnant intervals Celtic, old-time, or folk styles of music, you scales and play those major blues scales are the two half step intervals between the don’t want to play the C scale over the C over their respective chords in a I—IV—V 3rd and 4th scale degree and between the chord, or the D scale over the D chord. The progression. Doc Watson loves to do this 7th and 8th scale degree. Since we remove sound you create is usually too dissonant to and many classic Doc Watson licks are built the 4th scale degree and the 7th scale fit these styles of music because you end up from these major blues scales. Study the G, degree from the major scale to form the using notes (the F note in the C scale and C, and D major blues scales as shown on the major pentatonic scale, the sound is very the C# note in the D scale) that don’t fit the next page and then go back to the I—IV—V consonant. key. However, you can use the C major rhythnm ttrack that you downloaded from For the key of G, the major pentatonic pentatonic scale over the C chord and the the www.flatpick.com/essentials audio page scale is shown at the top of the next page. D major pentatonic scale over the D chord and practice playing these scales as the The notes are G, A, B, D, and E. Many because those scales utilize only notes that respective chords go by on the audio track. songs are built from this simple scale. For are in the G scale! You will create a bluesy sound. But it is not instance, the melody of the song “Amazing Work with the C and D major pentatonic as sad and gritty as the minor blues. Grace” is built entiredly using notes of the scales shown on the next page, then go back In the next issue I’ll give you some specific major pentatonic scale, as is the main riff to the rhythm track that you downloaded song examples. Until then, practice some for the tune “My Girl.” from the internet and try it out. When you free form improvisations using these scales.

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60 Flatpicking Guitar Magazine March/April 2012 1 G Major Pentatonic # œ œ œ 4 . œ œ œ œ œ œ . & 4 . œ œ œ œ œ œ . œ œ œ œ œ œ œ 0 3 5 3 0 œ œ 0 3 3 0 T 0 2 2 0 A . 0 2 2 0 . 0 2 2 0 B . 3 3 0 .

4 C Major Pentatonic œ œ œ # . œ œ œ œ œ œ . & . œ œ œ œ œ œ . œ œ œ œ œ œ 0 3 5 3 0 œ œ œ 1 3 3 1 0 2 2 0 . 0 2 2 0 . 3 3 0 0 . 3 0 3 .

7 D Major Pentatonic # œ œ œ . œ œ œ œ œ œ . & . œ œ œ œ œ œ . œ œ œ œ œ œ 0 2 5 2 0 œ œ œ 0 3 3 0 2 2 . 0 2 4 4 2 0 . 2 0 0 2 . 2 0 2 .

10 G Major Blues # œ bœ nœ œ œ œ œ œ bœ Ó & œ œ œ œ œ œ œ bœ nœ œ œ œ bœ œ œ 0 3 0 ˙ 0 3 3 0 0 2 3 3 2 0 0 2 2 0 Ó 0 1 2 2 1 0 3 3

14 C Major Blues D Major Blues œ œ œ œ œ # œ bœ nœ œ œ œ nœ #œ & œ œ œ Œ œ œ Œ œ œ bœ nœ œ œ nœ #œ 0 3 5 8 0 1 2 5 7 10 1 3 4 0 3 0 2 2 0 1 2 Œ 0 2 3 4 Œ 3

61 Flatpicking Guitar Magazine March/April 2012 with the store.” The new facility is 6600 square feet, with over 3000 square feet Store Visit: of display space. In addition to new and vintage instruments, the store also carries books, DVDs, and CDs. Smoky Mountain Guitars The store also features a pickin’ parlor and privacy room for trying out the instruments. By Dan Miller Dan said, “Impromptu jams sessions often occur at the store. Sometimes guys like Adam Steffey or Kenny Smith will come in a just start picking.” Kenny Smith has also started teaching lessons at the store this year. Banjo great Gary “Biscuit” Davis also teaches lessons there on both guitar and banjo. If you have a family, one of the nicest things about visiting this store is that Pigeon Forge is a vacation and outlet shopping destination. If you are coming in from out of town, you can bring the whole family. If the wife and kids do not share your passion for fine acoustic instruments, there is plenty in town for them to occupy themselves with while you are checking out the selection of instruments at Smoky Mountain Guitars. If you are in the market for a high end, custom-made, hand-built instrument and For the past few years Tim May and they have hosted performances by Doyle don’t want to get on a builder’s two year I have been traveling around the country Lawson, Kenny and Amanda Smith, Rodney waiting list, check out the inventory at teaching guitar and mandolin workshops. Dillard, Larry Sparks, Larry Cordle, Marty Smoky Mountain Guitars website (www. The majority of our workshops are hosted Raybon, Blue Moon Rising, as well as many smokymountainguitars.com). You just by music stores and we love that because, regional bands. might find your dream instrument. Better let’s face it, music stores are cool places to Regarding the new facility, which opened yet, if you have some vacation time coming, hang out if you are a musician. Last year in 2010, Dan Jones said, “We had outgrown take the whole family to Pigeon Forge and one of the music stores that really impressed our old store, which was less than 1000 stop by the shop and try out the instruments us was Smoky Mountain Guitars in Pigeon square feet. We opened that store in 2001 that are hanging there on the wall. I’ll Forge, Tennessee. Their new facility is and we kept adding things to the inventory. guarantee that while you are there you will awesome. I told the owner, Dan Jones, that We eventually had way more inventory than have the opportunity to play some of the if I ever owned a music store I’d want it to the old store could handle. Plus, we couldn’t finest instruments that you’ve ever held in be just like Smoky Mountain Guitars. believe that a town like Pigeon Forge didn’t your hands. This place truly is the acoustic Smoky Mountain Guitar’s motto is have a bluegrass performance venue. We musician’s candy store. “Serious Instruments for Serious Pickers,” needed a much larger space and we wanted and that is exactly what you will find in to have a performance venue co-located stock. The instruments that you will find here (which include new, used, and vintage guitars, mandolins, banjos, and resonator guitars) are high end and hand made. Not only do they carry instruments from some of the finest builders—Collings, Altman, Hooper, Reeves, and New Era, to name a few—but 95% of those instruments have some type of custom upgrade to the top woods, inlays, pick guards, saddles, etc. This stuff is custom made for the store and hard to find anywhere else. While their instrument selection would be enough to bring any enthusiast through the door, the new shop also includes a state-of-the-art performance venue where they host workshops and concerts. So far

62 Flatpicking Guitar Magazine March/April 2012 Gear Review: DR Dragon Skin Strings By Dan Miller

Over the years Flatpicking Guitar Personally, I don’t particularly like a Magazine has not conducted many string real bright sounding string, I don’t like a reviews. Back in early 1998 we conducted slippery string, and I don’t like to feel a lot a fairly in-depth review where we compared of tension when I push the pick through a and contrasted strings from D’Adarrio, John string. I don’t have acidic hands, so strings Pearse, High Cliff, Vinci, DR, Pirazzi, GHS, will generally last a fairly long time on my Euphonon, Peavy, Austin City, Martin, and guitar. I love the DR Dragon Skin strings Elixir. This was an extensive string review because the tension is exactly what I like for the main brands that were available to and the feel of the string is exactly what I the acoustic guitar player at the time. Back like. I also like the tone and the volume, then, coated strings were relatively new and, after going through several sets, I find to the market. The first generation Elixir that they last just as long, if not longer, than coated strings were out, but not much else. any other string that I’ve ever used. After our initial string review in 1998, the In order to find out a bit more about this only other string review that we have run new string, I called DR and talked with was in late 2001 when we compared the Tom Klukosky, the guy who helped DR Elixir Nanowebs and the D’Addario EXP owner Mark Dronge develop the Dragon strings. This article was titled “The New Skin strings. Tom explained to me that Generation of Coated Strings.” By that There are those who love them and there first and foremost he and the other guys time Elixir had changed their formula and are those who really don’t like them at all. at the DR facility are players and so they coating method and D’Addario, and others, Recently DR Strings sent me a few sets always evaluate strings from the player’s had entered the coated string market. of their newest coated string, which they perspective. He said that when DR first Today, just about every major string call “Dragon Skin.” These are handmade company is making a coated string. Players strings that have a new generation clear that like the coated string say that they last coating, which was invented by the folks at longer, feel smoother and faster and, some DR. When I put these strings on my guitar, say, they reduce finger squeak. Those I noticed that they sounded as loud and clear that don’t tend to like them say that they as any non-coated or coated string that I don’t sound as rich or as loud as the non- had tried. However, for me the dramatic coated string and they have a different feel. difference was the playability. The strings Typically, the players who absolutely love felt just like non-coated strings and the the coated strings are those who have very string tension made playing seem effortless. acidic hands and thus “kill” non-coated I was shocked at how easy it was to play strings rapidly. For those folks, the coated with these strings on the guitar. string was a God-send because the coating For me, when I evaluate a set of strings, on the string helped a set of strings last alot I’m listening for rich tone and good volume, longer for them. Those that don’t have the I’m feeling for comfortable string tension acid hand problem are not as crazy about and a certain tactile feel when my fingers the coated strings because they tend to be touch the strings. I don’t like a slippery more expensive and they really don’t last string. I like a certain amount of “string that much longer for those folks. grab” under my finger. I’m interested in Early in the evolution of the coated longevity, but I don’t have the “string killer” string those who did not have acidic hands acidic hands. hated them. They really had no reason to All of these elements are very subjective like them. They felt different, the coating from player to player. Some players like a was thick and tended to mute the sound bright tone, while others like a more mellow of the string, and after a while the coating tone. Also, each player’s feel for string would start to fray. However, as the coating tension and degree of string “slickness” technology improved, the coating got is different. Additionally, for players who thinner, the sound improved, and the feel have acidic hands, the longevity issue is came closer to the feel of the non-coated very important. For those who don’t have string. Even so, you usually find two camps that problem, one brand of string might last when it comes to the coated string topic. just as long as another.

63 Flatpicking Guitar Magazine March/April 2012 entered the coated string market they were When asked about the comfortable string using a coating that they purchased from tension, Tom said that part of that comes another company and they were not happy from coating, but most of it comes from the with it. Tom said, “The strings lasted longer, fact that DR strings are hand wound. He but the sound wasn’t there.” said that because the strings are hand wound Not happy with the coating that they were they can be wound tighter and a thicker wrap using, and not able to find any coating on can be used, therefore they are able to put the market that satisfied them, they worked more mass into a string with the same gauge to find their own solution. Tom said, “We as one that is purely machine wound. With wanted to find a coating that would enhance more mass the string can be brought up to the properties of the string metals instead pitch with less tension. of detract from them. We also wanted the Even though the folks at DR work coating to be similar in consistency to the with string qualities like mass, gauge, and wire so that the string would not feel like it tension, Tom emphasized that they are had a coating. After working for seven or players and so their research comes more eight years, we found a coating that we feel from stringing up and instrument and compliments the sound, feel, and vibration playing it to see how it sounds and how if of the metal that is underneath.” feels than from working with charts, graphs, Tom feels like the new coating and formulas. Become A Better compliments the string metal so well that In the past I’ve used both coated and non- Rhythm Player. their coated string actually sounds louder coated strings on my guitar and I’ve always and better than their non-coated string. He preferred the feel of the non-coated strings. Take Orrin Star’s said, “We were looking for something that However, I do really like these DR Dragon Workshop sounded better, but felt the same. We were Skins. I’ll have to agree with Tom. They are In The Comfort of looking to produce the coated string for the coated string with the non-coated string the player who doesn’t usually like coated sound and feel. So, you get the best of all Your Home. strings.” worlds — I give these strings high marks Call 800-413-8296 for tone, volume, playability, and longevity. Highly recommended! to Order

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Organize your Magazines! High Quality Now you can conveniently store Rugged your back issues of Flatpicking Back Issue Guitar Magazine in these new, high quality, durable, attractive storage Storage binders. Each binder holds one Binders year’s worth of back issues. The binders lay flat when opened so that you can access your magazines without having to remove them $14.00 each from the binders. Your magazines (Item No. 1196) are easier to find, easier to access, and remain in good shape forever! Call 800-413-8296 to Order Binder Special: Buy a binder for $14 and get any 6 back issues of Flatpicking Guitar Magazine for $10.00. That is less than $2 per issue! Offer ends 1 July 2010

64 Flatpicking Guitar Magazine March/April 2012 Musician’s Workshop Perfecting Bluegrass Guitar The Songbook you can listen to... Solos Just pop in the CDs or tape & listen to Chris Jones perform each song accompanying himself on guitar, as you read the lyrics & Learn how to make the most of your practice time chords in the book. with 23 secrets taught step-by-step.

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Classified ads will be accepted for guitar and musical related items @ 40¢ a word, 50¢ a word for bold lower case type, 60¢ a word for bold upper case type. Please call (800) 413-8296 to order, or send ad to High View Publications, P.O. Box 2160, Pulaski, VA 24301

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67 Flatpicking Guitar Magazine March/April 2012 CLASSIFIEDS continued

Guitars, Strings, and Accesories: EUPHONON COMPANY STRINGS Flatpicking Essentials First quality major manufacturer strings in Instructional Series bulk at fantastic savings. Same strings you DAN LASHBROOK buy in music stores, without the expensive Ever feel like you’ve hit a wall in your ACOUSTIC GUITAR SET UP packaging. Acoustic guitar sets: extra-light, practice or reached a plateau that you can’t Custom Bridge Pins, Nuts, and Saddles. light, or medium: 80/20 Bronze $31.50/ get beyond? We can help you! The Eight- Neck Re-sets, Fret Jobs, Crack Repairs. dozen, $20.00/half dozen; Phosphor Bronze Volume Flatpicking Essentials Instruction Specializing in helping you get the $33.50/dozen, $21.00/half dozen. Post paid. Method, developed by Flatpicking Guitar best performance out of your guitar. Call for price larger quantities. Twelve Magazine editor Dan Miller, provides Occasional high performance guitars for string, electric guitar, banjo, mandolin, you with over 1000 pages of information sale. [email protected] dulcimer, special gauges available. Request taught in a specific step-by-step sequence Call 828-649-1607 String Catalog. Euphonon also offers guitar so that your flatpicking knowledge and skill repair and building supplies. Request sets are complete, with no holes, or gaps. Luthier’s Catalog. EUPHONON CO. Starting with Volume One (Rhythm, Bass PO Box 100F Orford NH 03777. 1-(888) Runs, and Fill Licks), this series teaches 517-4678. LANHAM GUITARS you how to develop in an easy to follow www.hotworship.com/euphonon Handcrafted by Marty Lanham graduated method. This course is available Available from Nashville Guitar Company as spiral bound books with CD, or as digital www.nashguitar.com downloads. For more information visit Visit www.fgmrecords.com phone: 615-262-4891 www.flatpickingmercantile.com or www. Specializing in Acoustic Guitar Music! flatpickdigital.com.

Flatpicking the Blues Book/DVD/CD Course by Brad Davis

In this course, Brad Davis shows you how to approach playing the blues using both theoretical and practical methods. You will learn how to play blues style rhythm, learn blues scales at several positions on the neck, and learn how to apply those “blues notes” in a free-form improvisational style over the twelve-bar blues progression. This section increases your knowledge of the guitar fingerboard as it relates to the blues and provides you with a method for increasing your improvisational skills. Brad then examines common blues phrasing, technique, and standard blues licks and demonstrates how to apply them. He also shows examples of licks played in the style of great blues guitarists and even demonstrates how Bill Monroe’s blues licks on the mandolin can be incorporated on the guitar. This course also includes blues ear training. In addition to teaching you how to play straight blues, Brad also demonstrates and teaches how you might take tunes that you may already know from the standard Call 800-413-8296 flatpicking repertoire and spice them up with blues licks. If you are tired of playing to Order flatpicked fiddle tunes and bluegrass songs the same old way you will greatly appreciate Brad’s instruction on how you can add excitement and interest to songs that you already play by adding a blues flavor. Visit the Website for More Information and Blues Guitar Lessons www.flatpick.com/blues

68 Flatpicking Guitar Magazine March/April 2012 Music. Moments. Memories. April 26–29, 2012

Alison Krauss & Union Station featuring Jerry Douglas Tony Rice Vince Gill Featuring: Doc & Richard Watson • Roy Book Binder • Dailey and Vincent • Donna the Buffalo • The Gibson Brothers • Wayne Henderson • David Holt • Doc Watson Alison Krauss & Union Station featuring Jerry Douglas • The Kruger Brothers • Jim Lauderdale • Jack Lawrence • Dailey and Vincent David Holt Claire Lynch Band • Nashville Bluegrass Band • Tony Rice • Peter Rowan and the Free Mexican Airforce • Snyder Family Band • The Steel Wheels • Marty Stuart Snyder Family Band Peter Rowan and his Fabulous Superlatives • And many more! See the complete lineup at www.merlefest.org

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MerleFest and WCC are now 100% Tobacco Free © 2012 by Lowe’s.® All rights reserved. Lowe’s and the gable design 69 Flatpicking Guitar Magazine March/April 2012 are registered trademarks of LF, LLC. Andy Falco’s serious guitars 2007

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Flatpicking Bluegrass Rhythm Acoustic Guitar Advanced Bluegrass Clinch Mountain Primer Guitar Workshop Fundamentals Rhythm Guitar Guitar Video or DVD Video or DVD Video Video or DVD Video with Orrin Starr with Orrin Starr with Tim Stafford with Wyatt Rice with James Shelton

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Gypsy Jazz Guitar The Bluegrass Guitar Style Video or DVD of Charles Sawtelle with John Jorgenson Book CollingsGuitars.com / (2) 2-777071 Flatpicking Guitar Magazine March/April 2012 72 Flatpicking Guitar Magazine March/April 2012