Clarenceltrhite

Exacl t ranscri pt i ons ol

24 tunes and breaks by the
t egendary gui t ari $. Compl et e
anal vsi s and i nst ruct i on on
Cl ai ence' s uni que pi cki ng
t echni que, syncopat i on,
and backup st yl e.
Pl us a compl et e musi cal
bi ographv, di scographv, . and,
many never bel ore-puol rsneo
phot os. I n st andard
not at i on and t abl at ure.
BV Russ Barenberg.
Oak Publ i cat i ons/ $4. 95
M7
-871642
qC591
1978
BLUEGRASS
MASTERS
ClarenceUrhite
Oak Publicationi
Ne*Yort. London
. Tokvo. Svdnev' Colosne
by Russ Barenberg
Contents
Introduction 4
Musical Biography 5
Musical Style 9
Notation and Temt I I
IntroductoryInstruction
f2
Syncopation 12
Pick Direction and the Rieht Hand
Crosspicking 16
Alalyzing a Phrase 18
TheMusic 20
A Life of Sorrow 20
Mountain Dew 22
No Title Yet Blues 24
Rugle Call Rag 25
Farewell Blues 27
Joh Henry 30
Sally Goodin(1964) 32
Sally Goodin(1973) 35
Billy i the Lowground 36
Listen to the Mockingbird 40
Nine Pounil Eammer 43
I'maPilgim 48
Barefoot Netlie 5l
Sheik ofAruby 52
New River Truin 54
Soldier's,Ioy 56
The New Soldier's Joy 58
Julius Finkbtuei Rag 60
AlabamoJubilee 62
If You'rc Ever Gonna Love Me
DarkHollow 66
Backup 68
I'm a Ptlgim 68
Discography
'71
l 3
64
Introduction
Once in a whlle
you run across a musician whose
playing seems to have fallen right out of
the clear blue sky. Clarence White was one of those
people.
Clarence was among the fiIst to use the guitar extensively as a lead instruanent in a
bluegEss band. Wjth an incredibly rcfreshing approach, he absorbed and transcende'd the
pre<xi . l j ng st yl e. of bl uegra. s f l at pi cki ng
In the fifties. what little lead guitar playing that was done was lairly stmightforward
rhythmically. lt was usually characterized by steady runs, with melodies and
phmses that
did not differ significantly from those heard on the mandolin or fiddle. Don Reno recordd
some flatpicking solos and George Shuffler frequently
played guitar brcak v/ith the
Stanley Brothers. Around 1961, Doc Watson emeryed with his distinctjve and inflrrential
style of flatpicking on fiddle tunes and country songs. Although Doc's
playing was always
technically amazing, full of dazzling lioks, and musicallv delightful to boot, his phrasing
was never too complicated or unusual.
Clarence, evolving his own way ofplaying bluegrass in the early sixties, introduced much
greater rhythmic and melodic flexibility to the
guitar and to the music in general He
discovered musical effects that fit the guitar like a glove and wjth them added a new
dimension to bluegruss without sacrificing any ofits strength or drive. His fresh
perspectives
opened up a wealth of possibilities lbr future picke$ and established the guitar as a
workable and effective solo instrument in bluegrass. Tony Rice, one of today's
preeminent
bluegnss
guitar players, unrcservedly describes Clarence as "the greatest "
This book contains complete transcliptions, along with background, instruction tnd
commentary that wil! help you to appreciate some ofClarence's most important bluegrass
guitar playing.
Musical Biography
Bom in Maine in 1944, Clarcnce was surrounded by music ftom the beginning. His
heritage was mainly French Canadian and in his father's family of seventeen children there
was no shortage ofmusicians. Edc White Sr. was himslf a pretty
fair fiddler and played the
tenor banjo, harmonica and guitar as well. Clarence's mother often enjoyed Country
Westem records and radio programs and Roland (six year older than Clarence) was picking
the mandolin from the time his Little brother was old enough to remember_ It's no wonder
that by the time Clarence was six years
old he was strumming the ukulele and withn a
couple of yeals could play simple guitar
accompaniment to his father aid brother. Even
before he was big enough to get his arms around the guitar, he would strum the strings while
Roland noted it for him at the other end.
The family left Maine for Califomia in 1954, but not before the young
mite brothe6,
including middle brother Edc on tenor banjo, had t ed their hand at perfoming.
playing
standard country numbers like "Raglime Arlnie," "Golden Slippers,"
..Rubber
Dolly,'
and "Under the Double Eagle," they had made several local Grange Hall and talent show
appearances. Soon after arriving in Claifomia they entred a talent show on radio srarlon
KXLA, Pasadena. Their renditions won the fledgling group (then
calling themselves The
Country Boys) a spot on television and got them involved in the local country music scene.
At that point Clarence wasjust playing
very simple country backup with no runs.
Then in 1955 Roland got ahold of his first bluegrass record, a single of Bill Monroe
doing "Pike County Breakdown." That music really grabbed thet attention and lrom then
on the Whites bcame bluegrass addicts. Clarence began to pick up the details and subtleties
of bluegmss-style backup. Roland recalls him noticing the c run on Monrce's recording of
"Uncle Pen" and on Mac Wiseman's "Love Letter in the Sand." He was off and running.
The brothe.s played and listened to as much bluegrass as possible
and in 1958, when Billy
Ray Latham
joined
up with them on the 5-string banjo, they had a chance to staf working
out real bluegrass material as a group. The Country Boys, with Edc now on bass, played
local radio programs, Country shows whatever they could get and by 1959-1960 were
appearing at the Ash Grove in Los Angeles. Clarcnce cultivated and solidified his ythm
guitar playing
in those yeals.
Throughout that period he was exposed to flatpicked lead guitar. He was exc'ted by Don
Reno's guitar breaks on
"Country Boy Rook and Roll." He and Roland had recoralings of
the Stanley Brcthers with George Shuffler and every Saturday night they watched Joe
Maphis (who,
among other things, was a lightning fast flatpicker) on television. In fact, Joe
and his wife Rose Lee became pretty good friends of the family and were a welcoor souroe
ofencouragement to the boys in thefu musical endeavo$. Oddly enough, though Clarence
never liked to fingerpick, he was very impressd with Earl Scruggs' guitar playing
at that
time. Scruggs often played
bluesy breaks on gospel songs with a rolling three-finger style
much like his banjo playing.
As Roland puts it: "Earl Scruggs was the one thing that really
tumed us on to some guitar playing.
Clarcnce liked the syncopation that Scruggs got . . . he
thought it was rcal nice."
Clarence himselfdidn't stafi playing leads until arcund 1959, but all along he'd kept his
ears open to a lot of music. Bill Monroe was one ofhjs favorites. He was excited by Jesse
McReynolds's crosspicking on the mandolin, and he liked Merle Tmvis's intncare
fingerpicking. He always enjoyed rock and roll almost as much as bluegrass and, desprre
Roland's plea to spend their money on bluegass records, Clarence and Eic woulal go our
and buy the latest releass by Fats Domino, Elvis Presley and Chuck Berry. But the music
both Clarenc and Roland admired most was
probably
that ofthe Flatt and Scruggs band.
They were polished
but retained a deep feeling for the music. Roland recalls:
.'Claronce
t houghl l hat Far l scr ugg' andUnt l eJoshI sCr uggs. . dobr opl ayer l hadt hegr eat est | ee| l ng
l br musi c of anybod]
He t hougrl
' n"'
' f t "v
*i ' | . t t ' l
real wel l l ogel her'
To u5 i l
t rood
out . . . Josh had a lot ofrnfluence
on Lrs " Tiis
is a prettv mature
obt:11:]t-:-Y:
t""t"t"'
to make-and
it's interesting
that Clarencc
ipprecia;d
that kind of mllsical rapport
in light
oi r-ro* rlr"ff rt"
"nA
nolmd leamed
to
play togetherby
listening and experimenting.
Though
Clarence was completely
self_taught*h
i t r^ i i i "rl t " i t , t i ne
once l
ou vc l eard hi s l al er compl ex sl yl e
hi s l i rsl ' col o\
\ t ere
l:;i,;';;";i";;i;;;:lt:::
ij',"]^,1*;:1i:iX[;,.,;:;,"Ji"::;:1X.;J::Jl;'"'
[:,'j;'ij'ilI'#J:i'"l.li
ii'i;lij'iil;;'',,;.1;;;;
:;;;";"
;"v Roc'' and Rorr"r
not e f or not e l rom t ecords
\ i ! hl l e hr"u' l u
t ol ot *""
probabl y i nl l uenced
b! Don Reno
and Joe MaPhis,
that style di'ln t satrsty, iim for long
_Roland
remembe$
that at a
praotice
lii""a
ix"
",
r""o
"h:l
cr,,".l:
llji;i::
\:::;,:,llj":I,',11i::l;"Ji;i::l'
::X"iH#trffiff
* * lli"llili
ii';;,*,.
i,r'int
that as it wenton'
he was
aware that he had to eventuatty
come up iiihsomething
on his own, and that's what kind
lii.,i""."l'",.".i
tne ttme- I reft to so.,intoJffi'fi,:?ri:l;"
.larence woul.r sit in his
Roi and' s wi f e Arl ene
recal i s t hat duri r
room and
play for hours. stre,a sometim"-s e;in
to tisten and he'd
play her a tune iust
like
it was on some record.
Tlen tre-a
"ay,.
Noi this is the way I want to do it," and would
play
his own version with the new roeas nc u
just worked out He was st'lllltlltl:,.T"t"'
iiJ"l
i, ii*i,""
'"-:"
ry ::1iit'::'#;:i;1"i,lT,T:'J:l;:
il:l,Si
;";:'
Around t hat t i me
he even heard a t ew L
i*:r{J.:1";*:":::T"x:l"o,;:
li: : n*,xTiq
fl T: 5T tx"J
slff
ffi ::
the;that his own original
stylc began to
growDoc
Watson at the Ash Grove. Needless
to say,
In early 1962 Clarence
first heard ano mer r,.o:,:i:s-:^"":'-
:.;.;";iir,.t i,' ttre arm. This
he was thdlled by Doc's
plavmg ano 1t undoubtedly
gave him a musit:]:1:::1:
fr Hlil:t-;txf
til*Jil;t=ffi
.:{ff
::l}l;qi-;;
i:,:Hi!Hl;"HJ:*'o
(Thoush
I should
point out ttrat tre''r ueJrifimiti"t
Uttt ttt"t" t"n"t for
years and never did
il';;?;i;;;"
i'': D:::1,:"::,lt'i:
;|.':#T::T:,-Tiit'Jliil$llJ:.l"ffi
J.'
's::l:ll::x'J,ll::T:l^:"1,"oil1'-i#1"il"i."
k*;;.i;h;;""'s
existence'
and bv the
iit"ift""."
ft"a
"f*a'ly
begun to lbcus on his olvn arrangements'
Clarence was normally
a
qurel' resefle'l sort of
person "He'd
be the last one to say
".;i;i;;r;;;;;"".,
*hen Rotan,l was
gon", the sroup
(now.with Rcgr,Bltshon
bass) was
short a soloist, so Clarcnt"
"o"*"
to
"nil"iirt"-ino*
il-t"t n" tu" teadv to
plav a break to
most anl t hi ng Thr l
year r t ot ' : r nt t r ai r cJ
pt ' y' ng t ut L mor c l ead
gui l al \ i l h
I he band I n
lil ; s*
"l
m .";* i
i
""T
lil i: f il;i ] ;".: l'fi i
J
I i]'lH:'lJ
ilJ':';:i
""iT:t'fit"i
:l:llfftJJjr"
it
'u.l
At the tender ase or le hjs
pravins was extremerv
sophisticated
and musi"uuy
""un""nl'
ioo
"an
heai it on the-albLrm
New Dimensions
in
lJanio and Bluegrass,
.J/lli.r' ** .".o.a"a in is;3 in Los Angeles
The recofd fc'tures
the
banjo
playing oi Edc W"*"t*,
"*
i^in"f i'ittrnun'
tttorn-Ctut"n-"e1rad
mt at the Ash
Grove when they
play"o tne'e wttn rneii
group' The Tariers
Four of Clarcnce's
breaks are
""$fft;: ittl;:l;eloped
tvpe or crosspickins
used in solos such as-"Farewell
Blues"'
he introduced'a
di.tinc,..
*I.':""i:"1:{:"j-;*
fffiX:;J,X'"f:::';X*:";"':lT:,1';l'
to crosspicking
through
Jesse McReyr
svncoDated,
crosspick"a
gttitu' o""xtl'-t
"i"u'-trrt
pt"l:ut'ott ofClarence's
early style But
it seems that the rcal inspiration
mav have come from the banjo and
rylit:l
E-lil::l]:t'
ilfi:iJ"Ji
ffi;n;ii.*tt"r'"'"a
a"r..
'tvl::
i* i ::1 .v::it-:3,::i-:f..1*
;:jlr": ;:;
' :i*;i:' i,' "*?ii
ei""' '
' ' ' ' ng
w th
' rhe
slerk or
i"li:l:::' ,,:::::::' P
[1"' "".::Ji ;j i ' ;::Li ."",i "' ,."Jt.out
\!henhel teard-scrugss' ' banj ove?i or' j :-:h(
;l,i":Tri.*:;ffi
;::;;;;,;
R.';;.
rHe
r'(rmed that bv list'lll'.i::1;,;:'.-*-':,:
banjo. rhat was one of the lilst slx rccords I
c't
11':l k"-'1":
111"111:""ii::
tl,9i*::1
und io working up a break for the Ne Dimeniio'lr
as
great." So when Clarenoe did
get aro
-
;:"":;'il
tt;r, ili;;;}'i.o-t*i
"
'nr' '
lot or the sturr on thc': h:': n''::t11
1:t*
t'
;ffiil;it;
il;*ltt"
,ou""t,
"It *" all back there it was
just
a matter
of him
working things out."
''
ih".i .ofoi of.o .l-row signs of thc syncopated thythmic
sense that woxld iloudsh ovcr
tn"."-i .-tf..f u*s
a;d become the foundatjon ofhis style lt would be mcanmgless
,^1.;"r r,,
^
.o."iri" influence
and say,
..This
is where his sense ot syncopation
came frcm "
;:itk; ;il [;;
"l;nuno
nna tuttLv
pjcked up traces of it from
pcoplc like shuffler'
ii..r.", i".t*l
u*le Josh, Doc, Chuck Berry' etc But when vou
get down to it' the m n
.rr... .."f4
".fv
t" f,is own imagination
This was his own way of playing muslc'
"'if,rir"."
v"-
tft.
group changeil their name to the Kcntucky Coloncls upon rccording
,n"tr'i-t.irii.l.,
"ir"i-
ss'Ar"erica
whcn Roland rcjoined them following his stav in the
;;;;;;,;;ilt-
.;ork more inte nselv' Giver the stimulation-that
onlv comes $'rtir
ri""al
p"tii.t"t.t, Cl-ence
quickly extenlied
his ideas He started experimenting
with more
complex
rhythmic
phrasing and more extensive usc of syncopltcd
effects The
'olonels
-",i'"
". ""J,".,;",i.rn
lnti 1963 tt,"t in.ludeal
appearances in Denver, Detroit and Boston.
ttttt,rt.,t't
, *nole tr;p everything
reallv startcLl
poppin"
(eallv working Therc werc
"
i.i .i."'-',rti;" Gg
on, especiallv
his guitar plavjng He was working thcse thingsouta
lot right at that tine."
v,'""
"r..tlesc
thincs... incluiling lis syncopation,
jazzjer phrasing and more elabofate
t."i'"J'ii'.' it.. t
"iil
.." f* r"*o on the album
'4ppa1achiatt
s\\'ins: The Kentuckv
irl)rilr.'*nt"l
tf*t tecorclcd in 1964' Its circulation was limited' but that album blew
;;;; .;;t;bi;;rass
guitarist within
earshot Cl'rrence is at his best' The
plaling is
"-.rirnt,
*r*tl* ,tl unriistakably
his own Unforlunately' the record onlv staved in
print
i"'
"'i""ti'
t"r..
ti *"" rcissucd in 1973 as 7'' e Kentu'kr
(bLonels (
Jbnne v'fhc
Counttv
,"rll. ,r"i trt *rf"
oiscontinued
Try
youl best to get your hends on il It is inv'luable for
t"o-ing tt,.
"l*
tun"" in the book that JIc takcn frcm it' and it's
just a real treat to listen to
t'"."".1"'*ri
".0"","1y
tbnd of
playing on tuncs like "John Hcnry" and'.Nlne
Pound
Harnmer," where h. wa.
gru"n roon tu-strelch out and let loose hjs seemingly endlcss flow
o| musi cal i deas' I nt her ecol dngst udl oheandRol endact ual l yt r adcdbr eaksont hese
it.". i", fO
-
f S
-itutesl
A neat splicing
job
cllt them down to size for the.record'
''
ilror"
y"".. *.." u.tivc oncs for the Kentucky colonels- They expanded their repertorc
t. i;;l;l; r".. tmditionallv
non'blucgrass
matedal like-"The sh-eik of.Arabv.''and
experimented
with unusual arrangements
like "The New Soldier's Joy
" Clarcnce never let
hi.'pi"","* u**".
Ue'd have a tune basicallv together and then would
:ii-::1-hi
mself a
iiiil"
""at-,i."
rr. pf"yed
jt
After a set he'd oiten slt down and go over a new rdca to
.Jn..irl i, ."i
".a
."ii it down. His right hand work was
particularly xmazing and he once
iliJ ri"l""a ,rr" rr" *as ahvays ihinking about it- If something
gave. him trouble "be would
i*'."'.* ltti
"]iiu"
aifferent wav of Joing it with his dght hand " clarcnce described it
si mpi y: "f j ust do i i t he easi est way I can "
''---i'S;s
;; ,n" 1u.,
tear
that he workcd intenselv on his bluegrass
playing By then he was
a..* *,* n.",it
f"i .ut picking anil would sometimes
plavfullv sttetch his syncopations
io tft. ntft i"gr"" as a challenge to himself and the rest of the band To keep things
irt"r".ting.
ft.:O "painl himself into a comer"' as Roger Bush
puts it' "and then try to
gcl
iri. i,"t"itu r'" .ia" rt' but now and then he'd trap himself in the corner"'
-"U.-tf.i""",.fu,
,n. fiustration
of trying to make a living
playing bluegrass
rercbed its
boiling point and the group disbanded in 1966- Roland says that as far as Clarnce was
concemed, "He hadn't lost intercst in bluegass at all. Hejust had to mak some money."
During that last year the Colonels frequently deviated from a stdct bluegrass format and
Clarence
played a fair amount ofelect c guitar with the band. James Burton, guitadst for
Elvis Presley, saw him and liked him. He encoumged Clarcnce on the electric guitar and
landed him his first studio recording session,
playing rhythm guitar for Ricky Nelson.
Clarence's irresistible talent soon
provided him with a busy schedule of session work in the
Los Angeles area. He became moae involved in the
pop
and rock music scene and eventually
hooked up with The Byrds, with whom he worked for several
years.
It's not surprising that he was as much a trailblazer on the electric as he was on the
acoustic. He approached it as a new instrument, discoveing effects that brought life to the
electric
gujtar as well as to the new music he was playiflg. One ofhis contributions was a
mechanical string bending device that allowed him to play pedal steel type licks on a regular
six-string electdc
guitar. lt soon became a popular item among country-rock
guitarists.
The White brcthers
(with Eric back on bass) enjoyed a happy and satisfying bluegrass
reunion in 19?3. Along with Alan Munde, th very talented banjo player from Country
Gazette, they toured England, Holland and Sweden. Th music came together with
remarkable ease and the band members felt a strong mutual respect and appreciation-
Roland says, "Clarence
was surprised because he redlly enjoye.d playing the bluegrass. I
think it was the first time he'd done
just
that for a period of time, and he was really into it.
I think it was a challenge to him because he didn't think he could do it again." Clearly, he
could do it. The White Brothers: Lire in Sweden 1973, documents this tour. Oarence's
playing is not radically differcnt from his work ofthe sixties, but it has a distinctive llavor
and seems to have been broadened by his years ofexperience with The Byrds and others.
(See "Sally Goodin," "If You're Ever Gonna Love Me" and "Dark Hollow," the last taken
ftom Muleskinner, an album which features Clarence, Richard Greene, David Grisman, Bill
Keith, and Peter Rowan.)
Tragically, the performances in Europe were among his last. Clarence was hit by a car and
killed on July 15, 1973 while loading equipment after a gig in Palmdale, Califomia. The
world lost a truly
gifted musician.
Clarence digested a lot of music and came up with his own music on the
guitar.
Non-guitadsts inspired him as much as other guitar players. As Roland says, "It was the feel
for music that made a difference to him." Clarence certainly had his own feel for music, and
he cultivated it with a fertile imagination. He was ddven to
play
in an original and innova-
tive way. But it angered both Roland and Clarence to hear
people say that they werc "ahead
of their time." "That's not what it was. We weren't trying to break any rccords or any new
frcntierc, we
just played music,
just good
music, music we liked. Our ideas weren't all
oiginal, you know. What we heard and leamed from other people wejust interpreted io
our own way. We weren't trying to be ahead ofanybody . . . we were
just
doing what we
liked to do, the best way we knew how."
For Rolaad, playing with his brother was like playing
with no one else: "We enjoyed
what we did. We had respect for each othet. . . . He was always filling in- He was always
right there. It was really something." Roland modestly
gives Clarence
qedit
for the ongr-
nality ofthe band's sound: "He was way ahead ofme. He would sit down and work things
out. He was the main reason for the Kentucky Colonels. His guitar playing
made the Ken-
tucky Colonels. That was a very big part of the show. People would hearhis guitar playing
and wouldn't want to hear anything else."
Musical Style
Clerenco's sens of rhythm is tho main ingrcdient in his unmistakable sound. His playing
is loaded with syncopation and rhythmic variety in a way that has seldom if ever been
equalled on a bluegrass instrument.
Syncopatior is a rhythmic device in which the off-beats are accented. Since the accent
normally falls on the beats, syncopation gives a refreshing, unexpected sound. Clarence
developed a mastedul sense of syncopation and always used it tastefully, to strengthen
the rhythmic pulse. His music surges with anticipated beats and startles you with stuttering
hesitations. With great freedom and subtlety in his dght hand he was able to manipulate the
rhythm, to accent any note he chose, to leave spaces ifhe wanted and to build interesting
phrases nther than simply follow the relentless flow of notes that tends to dominate the
bluegrass rhythm.
(Take a look at his break to "I'm a Pilgrim"!)
lf Clarence seemed rcse d on stage, it was
probably
because he funnelled all his energy
and vitality straight into the musio. Using a very controlled dght hand motion, he played
precisely and directly with no wasted effort. Yet in a world of all too many monotoned
bluegrass flatpickers, he stands out as an extremely dynamic player. While asserting an
exciting command of rhythm and accent, he intensifies the musical impact with expressive
use ofdynamics. Clarence was a soulful guitar player. His playing has a clear, brilliant sound
and often threatens to explode with energy.
With constant modulation of intensity and emphasis, his playing
has an impelling kind of
excitement that sounds fresh and improvisatory at all times. Although he does a fair amount
of real improvising, many ofhis solos arc carcfully worked out. Whether planned
in advance
or not, his ideas are as cohesive and well directed as they are exciting. His solos gnerally
grow from the melody with astonishing inventiveness. It's less common to hear him tum to
the kind of improvisation which fits the chod pmgression
but bears no other relation
to the tune- Roland says that when Clarence worked out solos he started with the melody
and then "just went in there and pioked it." This melodic odentation, with real attention
to the tune at hand, was "the way we larned to
play-"
There has always been a strong element ofthe blues in bluegrass music. Clarence used
bluesy notes extensively, but the way he used them sounded different than anything that
had yet been done. His bluesy licks often have a strong feeling of rock and roll or R&8.-
Combined with his own slippery phrasing
and rhythmic sparkle, the result ciur be thrilling.
(Check out the solos to "Nine Pound Hammer," "l'm a Pilg m" and "Dark Hollow.")
Roland rccalls an observation Clarence once made after listening to one of Bill Monroe s
blues-based mandolin tunes: "You know, I don't know who copied who, whether Bill
Monroe copied Chuck Berry or Chuck Be
l,
copied Bill Monrce, but it sounds like they
might have even worked together."
Clarence is well known for his crosspicking. This flatpicking technique was originally
developed on the mandolin by Jess McReyoolds. It produces
a rolling effect not unlike
that of Scnrggs-style banjo. On the guitar it takes the fom of a
picking pattem across mree
strings. The pattem is not always fixed and rcgular, but is varied to fit a particular melody.
Oarence was one ofthe fint to adapt the technique to the guitar, and he went a long way in
exploring its possibilities.
He used crosspicking in two basic ways. In his arrangement of "Listen to the
Mockingbird," for instance, it supplements the important melodic ideas and fills out the
sormd. Its effect is primarily
textural. In the brcaks from
"Farewell Blues" and "Billy in
the Lowground," he uses crosspicking as a melodic vehicle. These passages
are cleverly
worked out so that a moving line emerges from within the crosspicking. Occasionally, they
even give the impression of two moving parts. Crosspicking is a difficult right hand
technique, but Clarence played with a free enough wrist and sufficjent control to accent any
note in the pattem and bring out the melody and rhythm he wanted. By letting the notes
ring as he crosspicks he cteates some beautiful overlapping sonorities and a
.,stringy,,
effect
well suited to the guitar. Even when he is not crosspick;ng, he often plays
a note and leaves
it hanging to hamonize with the notes that follow, as in "Listen to the Mockingbird.,' With
these kinds ofdiscovedes, Clarence really fotutd the guitar's potential.
Another distinctive element ofhis style is his use of 1a4e interval leaps. By
..jumping"
across the strings with the flatpick, tle gives you the feeling that he's playing in two different
registers at once. Sometimes the resulting impression is one oftwo sepamte parts
which are
playing
offeach other or mo]ring in hamony. Other times it involves a droning effect on a
bass st ng ("New
Soldier's Joy," "Alabama Jubilee," "The Sheik ofAraby,,) or an
embellishment in the treble strings ("IfYou're
Ever Gonna lrve Me',) while the Dart in the
remai nrng regi srer emerges as t he pri mary
m(l odi c I i ne.
So you can see that in his lead playing,
Clarence takes advantage of the guitar's capacity
to be a multivoiced, harmonic instrument. He frequently uses double stops and
..rolled,,
grace
note chords. (see p.24
)
Occasionally, even with his remarkably versatile technique, his
ideas are c.amped by the limitatioftt of a flatpick and he adds the use of the second and
sometimes the third fingers of his right hand to help out. (This
occurs mainly in his
post-electric guitar solos. See "Dark Hollow.")
In Clarence's crosspicking, lalge
jnterval
leaps and frequent use of slides, bends and
double stops, you find the melodic counterpart ofhis rhythmic tendency to move beyond
the straighter and much more obvious "runs" style ofbluegrass flatpicking. In achieving
his musical goals, h produces
effects that sound good
on the guitar
by taking advantage of
its morc natural possibilities. He works witft the instrument so that nothing sounds forced or
contdved. It sounds as though it was meant for the guitar.
Clarence brought as much to his backup work as he did to his solos. In fact. it was his
great rhythm guitar playing
that captirated Tony Rice (now
the
proud
owner of Clatence's
old Herringbone D-28) when he was growing up in California and first heard Clarence play.
Since the guitar is central to the bluegrass rhythm, Clarcnce opened up new poss;bil;ties
for
the overall sound ola bluegrass band. The Kentucky Colonels really had a unique feel as a
band largely due to his innovations. He adorned his basically rock-solid backup wltn
syncopated bass runs, off-beat aocents and syncopated strumming pattems. (Some
examples
can be found on p.70) His interest in other kinds of music gave him a wider knowledge of
chords than most bluegrass players
had in the early sixties. Now and then, when no one was
looking, he'd sneak one of hisjazzier chords into the bluegrass.
In The Kentucky Colonels, Clarence and Roland made good use of their instinctive
sensitiyity to each others playing. While Roland worild solo in his wondedully fluid style,
Clarence was able to stray from the bass note-strum type ofbackup and play melodicitly
behind his brother. He was right there with fills between the phrases,
but also played along
behind the break itself. Though rarely in strict harmony, the parts
never clashed. Clarence,s
lines melodically complemented Roland's work, and he played
with such lively accents that
even though playing
lead-type licks, he remained rhythmically supportive. (See..I'm
a
Pilgrim," p- 69) This kind ofbackup playing
was new to bluegrass.
With his unique rhythmic sense, strong phmsing
and knack for making the most of the
guitar on its own terms, Clarence gave the instrument an active and powerful
solo volce rn
blueglass. In this respect, he did for the guitar
what Earl Scruggs did for the banjo and what
Bill Monroe and Jesse McReynolds did for the mandolin. He found a way to make the guitar
work as a lead instrument in a bluegrass band by giving it an impact and strength surted to
the instrument. Now the guitar could participate
on equal footing with the banio. mandolin
and fiddle without remaining bound to the simplioity which previously
seemed necessary
for its effectiveness.
l 0
Notation andTerms
The transcdptions are presented
in standard music notation and in tablature.
The six lines of the tablature staffrepresent the six strings of a guitar (low
E on tne
bottom). Numbers on the lines indicate which fret is to be played
on each st.ing. Numben
above the tablature staff show the left hand fingering.
Tablaturc uses the same rhythmic notation as tegular wdtten music with one exceprlon.
A halfnote in tablature is written with no stem. It appears simply as a number on the staff.
A
,l
24
l l
4
I
B
2
I
' i '
Down stroke
Up stroke
Accent or added
Hammer-on
Pull-off
emphasis on a note
l t l
L3J
Slide in which the first note is held as an eighth note before you make the
slide.
Grace note slide: start the slide at the fret indicated by the grace note, but
don't hold that note. Slide immediately to the main note. Similarly for
hammet-ons.
Bend or
"choke" the note.
Parentheses around a note mean that it is a weak note and should be played
softly. These notes can be heard on the recording but are significantly
weaker than and subordinate to the surrounding notes. Sometimes grcups
of
notes will appear in parentheses.
These indications, along with the use of
accent marks, represent what unfortunately can only be a partially
successful
attempt to convey the subtleties of Clarence,s dynamics in written notation.
Eighth note tdplet: the beat (by
that I mean quarter
note) is divided into
three equal parts.
Play the three notes evenly in the space ofone quarter
Qua.ter
note t plet:
a halfnote is divided into three equal parts.
play
the
thrce notes evenly in the spaoe of onc halfnote_
l l
Introductory
Instruction
Syncopation
Syncopation is a disturbance in the nomal flow of the fiythmic pulse_
The accent is
shifted to what is normally a weaker beat or part
of a beat.
A syncopated ve$ion of the simple bass run:
G
would go like this in Clarence's style:
G
c
In the following transcriptions of his solos, the syncopateal note usually starts on an
otibeat (second
eighth note ofa beat) and is held over or /r?d through the beginning of
the next beat, so that the note starts slightly earlier or later than expected. The fust tour
measures of the brcak to "Dark Hollow" are completely syncopated. Notice all the
tied notes:
Fet .
74
j
J' i l -'
t
' r t t +
+t l
etc.
a J
rJrF
t
Jt t - - t
etc.
n
( vnv
. v u"
D
t 2
However, sometimes the syncopation is simply an accent on a note in a normally subordi
nate rhythmic
positiot. Tied notes need not be involved. Clarence's first two breaks to
"Nine
Pound Hammer," for example, are
peppered with accents on the second and fourth
beats in a rneasure
(normally weaker beats) as well as on single off-beat eighth notes-
Syncopation
presents riglt hand problems that are discussed in the following section on
Pick Direction, and given fu her attention throlrghout the book.
Pick Direction and the Right Hand
A flatpicker's
ght hatd is a very
pe$onal thing, and there's no way of knowing lbr sure
all the intimate details of Clarence's right hand motion. It seerns to me that as a foundation
he followed the most common
procedure in flatpicking, which is to play a down_stroke on a
note that begins on a beat, and an up-strcke on a note that begins on an off-beat.
Following this system, an uninterrupted series of eighth notes is
played with a steadily
alternating down-up motion ofthe pick:
a)
( n V
- V
n v
- V
F)
(from "Mountain Dew")
This is not to say that
you always altemate down-up no matter what the rhythm of the
notes. On the contlary, the motion of your dght hand is directly synchronized with the
rhythm. Your natural inclination should be to move down on a beat and up on an off-beat'
Here is a simple illustration:
( n nvn Fl v n nVn)
I 3
Clarence's break call for mo.e complicated manifestations
of this picking
schene mar
somctimes involve playing
consecutive up_strokes:
1 Consecutive up-strokcs resulting frcm a slide, hammer_on or pull_off:
C
o
l+.J
'<.L,
( -
V nV
v r r
c
n)
C
(from
"Farewell
Blues'
)
*It
woutd be feasible to play this note with either an up_stroke
or a down-stroke.
t 4
Hete the hammer-on takes the place
of a down_stroke,
and the followins note
gets an upstroke sincc it falls on an off_beat_
2, Consecutive up-strokes rcsulting from syncopations (since
syncopated notes are
played on ofl,beats):
c
tutrffiF
( - v
v
-
Fv n v nV n)
(
"Billy
in the Lowground' Part 82)
C
C
- 1-
(-
t
-
-
-.-,t
i ,
l l
-
nV)
Y-
Take a look at "John
Henry" to see how this system works in an actual break.
pick
directions are completely mapped out foi that solo. Otherwise, where he seems to adhere to
this approach, directions will only be indicated as a reminder in tdcky situations where
thcy will appear in parcntheses.
However, Clarence's right hand was in charge of the rhythm not vice versa and he
definitely made exceptions to the prccedurc
described above in order to produce
some of
his rhythmic effects and to execute some ofthe more complex phrases.
In cases whre he
seems to deviate from the rule, pick direction will always be indicated with no
parentheses.
The most important exceptions aae:
l. Fl for added emphasis o. geater fluidity on certain off-beats. This phrase is
from Part A3 of "Sally
Goodin":
G
Q 7'
r
( n
t l n) n
=
( V
- V
n n)
In this passage
from Part Bl of"Billy in the Lowground," the syncopated note in
the second measure (the one that gets
choked) can be
played
with either a down-
or an up-stroke:
C
t r - \
(! ^
v
! v
n
Vf i )
2.
3.
Fl for some pick-up
notes, particularly at a slower tempo. (A pick-up
note is a
single eighth note on an off beat that leads into a stronger note on a beat.)
All down-strokes for groups ofeighth notes in certain slower rhythms. (See
"A
Life of Sorrow" and "I'm a Pilgdm")
4. n for a group of "rclled" gace notes (see p.24)
5. Eighth note tdplets (directions
will be given in the tablaturc)
Sometimes, as in the example from "Billy in the Lowground," two possible
choices arc
shown for certain notes. The indication in parentheses
follows the normal nrle_ Thc one
above it is a possible
alternative in a situation where it might be done either way.
I think my suggestions for pick dircction make good
musical and technical sense. But if
something else feels morc natutal for your own right-hand style in a particular passage, feel
free to use it. Just make swe that you'llbe
able to execute it when you play the breaK up ro
speed. What's more important, convince yourself
that the sound you,re producing
is true
to Clarence's sense of phrasing!
I'll discuss the dght-hand aspects of crosspioking in the next section.
Crosspicking
Clarence's crosspicking usually involves a downward "ro11" across three strings, from
lowest to highest in pitch. Here is an example of a crosspicking pattem:
D
I-J-.J-J I-JJ-J
NV N V N VN V
Differcnt pickers
have different right-hand apprcaches to crosspicking, and I,m not
absolutely sure how Clarence did his. For instance, some would play the example with a
pi cki ng pat t em
of t wo downs and an up:
| . r - v- nvnv
D
l 6
Therc's a gooal chance Clarence did it this way, at least some of the time Personally, I find
that the easiest way to
get a strong sound and afl even rhythm is to stick to an altemating
down-up
pattem in spite of all th string crossings This method allows
you more flexibility
to adjusi io new picking situations as they anse,
particularly when
you're improvising l
know therc arc
players who dlsagree with me
(Clarence may have been one of them)' so in
many of the cmsspicking sections, I've included
pick directions following both methods'
However
you choose to crosspick, the important things are, first, that
you listen to the
music ani realize how it sholtlal sound, and second, that you get a good sound and a feeling
ofcontrcl whn
You PlaY
it.
As I mentioned before, in actual solos the
pattems arc not rigidly fixed, but are adjusted
to adapt to specific melodic situations. In measures 3'4of "Listen to the Mockingbid,"
crosspicking is used as textural filler during a pause in the melody:
- V
FV VFV)
N FV NV N V
i l v ! Y
v
( n F vn
For this one, because ofthe tempo and emphasis, I would use the down-up
pick direction
In the first
phrase of "Farewell Blues," crosspicking actively conveys Clarence's melodic
i dea:
G
(c)
rrrrn TrTrn
Fft-t H tfTT-Tl
TffErt Fffm
FFFF trIF
I+I+H FiFI H
i-ftflj ft-tt-Tl
Crosspicking is a challenge for your right hand and will require an active,
yet well-guided
wrist and arm motion. As for the left hand, don't think of it as
playing a succession
of
separate eighth notes like
you would in a run or scale. Try for a free-ringing sound for which
you hold tire notes so that they overlap. The diagxams show the left hand
positions and
when to change them,
I
n
vF
n)
-
(v)
\{.J
IJ-J-J
n
{F
[ 3r vl !
t 7
Analyzing
a Phrase
You're undoubiedly awlre ofhow difficult it can be to teach
through wdtten notation. lt's especially tricky considering how
Clarence brought to his playing.
or leam music like this
much subtlety and nuance
_
To get
a feel for the kind ofapproach that can br;ng a tmnscription
to life, let,s take
look at the fint line of "John Henry":
Be aware olClarence's basic melodic idea:
Notice that, in essence, his phrase
is a syncopated version of the previous
example:
N F
- VNV
n Vn nV
18
Finally, ornamental crosspicking around the syncopated melodio note givs you hir actual
phrase:
a)
I
ro
etc.
etc.
To achieve the effect outlined in the third example above, hold the second note in measure
I as you play the following note, for a total ofone and one_half beats Hold the fourth
note which shoulal emerge as an important tnelodic note as
you play the next two notes'
dgai n I ol al i ng one and a hal f bezl s.
Thenot esi nparent heses(i ndi cat i ngt hat t heyarenot pl ayedt oost l ongl y)i nmeasul es
24 serve more oi a rhythmic than melodic function. Each should be
played to produce a
sort of "hopping"
effect leading down to the following note, whish then
gets morc
emphasis.
ip ,t.ot"s
""n
t.tta a morc off-beat feeling to the syncopated notes in measures 3-4
Count carefully and watch the timing here!
Unfortunately, I don't have room to go into this kind of detail throughout the book l
hope this explanation has given you an idea of the sort of mental apprcach
you'll need to
make the soios sound right. of course' listening to the recordings wlll be your biggest aid!
l 9
The Music
With a couple ofexceptions, the breaks are presented
in chronological order, according to
when they werc rccorded. So you needn't sta at the beginning and work straight through,
because they are not arranged in order ofdifficulty.
The music is written as if there were no capo being used. For example, in
.Farewoll
Blues" the fret indications in tablature and the notes in standard music notation describe
the solo in open C position
with no capo. On the remrd, Clarence actually plays
the brcak
in the key of Eb (capo
on the third fret). If you want, put the capo on the fret indicated for
each tune to match Clarence's real key,
Good luck!
The White Brcthr (The New Knrucky Colonels), t9?3. L to R: Jack liick3, Rolan{i Whire, E.ic \ryhfte,
Claren@ White. John t(aDdalis
ALifeof Sorrow
Ljyin' in the Past (1961)
According to the record notes, this is the first solo Clarence ever playod
on stage with the
group.
Ifso, he must have been holding out on the public
for some time. Even ifhe doesn't
display an advanced sense of syncopation here, there is considerable rhythmic
varjety, and a beautilully sure touch with the right hand. The mandolin-like tremolo in
measures I and 5
(repeated
sixteenth note double stops) is reminiscent ofsome of Don
Reno's guitar playing.
The rhythm of this old Stanley Brothers tune as done by The Kentucky Colonels is a
more plodding kind of
X
meter in which all four beats of the moasure are felt more slrongry
than in typical j bluegass time. Wifiin this rhythm there are subtle differences in pairs of
eighth notes (
lf
).
Some are played
v.ith consecutive down-strokes (ft
n)for a-squarer,
more insistent feel (measures3-4).
Otherc have more ofa lilt (
Lf
rends toward
-]).
ffr"r"
are played.with
a down-up pick
motion (n
V )to
get
a bouncier r-hythm (measurel 7'and 9).
Be sure to tune the low E stdng down to D.
20
A Life of Srrnow
$oumey's
End)
Tune low E stdng down to D
Capo on 4th fret.
Ralph Stanley
Carter Stanley
(! n v.t
5 G(?)
a
-::J,2
n( c nvnvet c.
d
, *,
\Ji
\.) \rt
\.) t.) \.)
, l ?
n n n. N
\'.,P + J
-
AFi
ni - | r n, nnn
i
( v
nvl
tl t
n0. : . ( D
]
n n v n vn
n nn n n v l i v
(etc.)
Copyright 1952 by Pcer Intoatiotul Corpohtioa Al Rishts Rsned'
11 n r l V nV)
( X
- v"n"vl t v
(etc.)
2I
Mountain Dew
NN Dincnsions in Banjo md sluerras
The next four tunes are taken from New Dr.m ensions in Banio and B/&egldss. The album is
still in print
and contains some ofhis best playing.
It is also available, with a couple ofextra
tunes, as the soundttack tecord frcm the movie "Delivercnce_"
This one is a fast, exciting break. In measure 9, notice the consecutive up-struKs
resulting from the pull-off
which starts on an off beat tsee also p.
l4). Shorten the two high
G notes in measure 13 with a little left hand damping. They should be piercing
and
accented, but short.
The passage
in measures 9-1 I is very impmvisatory. Listen to th record to set a better
\ ense of \ hJl I ' m at t empt i ng t o represenL hcre on
naper,
Tne Kenlucky colont!.I ro R: Leroy vdcl' .lnc whire. Roland vhite, BiIy Rry Latnam,Cl,Jenewrxre
22
Mourfiain
Dew
copylisnt O 1945 Tannn Music, Inc
AU Rishls Resened. Used by ?missior
Scott Wiseman
Bascomb L. Luncford
( n vn)
( n v)
nnv) ( n v v n
( n nv n)
)
- Fr '
o- e_i
r
NoTifleYetBlues
Nes Dinensio6 in Banjo and Bluearass
Some very snazzy crcsspicking here. In measure 3 watch out for the up_sttokes used to
play the syncopated note and the note which follows (see p. 14
).
In meaiure I I he uses
"rolled" grace notes. The grace
notes, along with the main note, arc played
in one swecplng
down-stroke so that the melodic note rings strongly and clearly on the beat.
No Title Yet Blues
capo on 2nd fret
Eric Wiessberg
Am
Am
r)
1970 Calua Productions. Alt Rishrs Resned. Used by
pernission.
*Pick
the open C string as you hamme. the sccond fret of the D stdns.
t 0 Dm
'
Jt i
t _aJ-
\ - r
( n i ?X?l Y
n navnnv
N FVnVI . V
nv vn n)
. u1
e
j .
-
Jt .
( n
v n v n v
J J l . - t
l ' r F r r a ul
U
IJJ.J -+
e
-+
e
l.l Fl+ n-
e^
Am
Dm
l 5
,
NNVFNV
(n n v n
\ i
n v
Nl . l VFI ' I V
n v nv n v n n
f )
n-
r t d
nv v n
- )
NN V F N V N
( nV| r VnVn
Bugle CallRag
New Dimensions in Bojo and Blueras
This is one of his morc intercsting mile_a-minute bluegrass breakdown breaks At this
ternpo he's a little less mmplicatd than usual rhythmically, although in measures 9-10 the
syncopation is p.etty uncanny. Be particularly careful with the timing and pick direction
here. The recording itself will
give you a better idea ofhow to play the strums in measure 8-
B,lgle C,olI Rag
(G)
c
c
J. Pefli
B. Meyer
E. Schoeb
G
G
G l 0
"
) Jt
a
. y'
a)
t >v
( VF
FNEV
Fl nVV)
( Vi I l )
Copyrishr O 1923 byMiIs Musi.,In.,, Copyrishr renewed 1950,
Used by Pernission, A Rishts Resened,
26
FarewellBlues
New Dinmsions in Bdjo and Bluesras
This is my personal favorite. It's an intricately worked out break with the most effectjvc
use of crosspicking I've ever heard on the
guitar. Roland made no bones about his fondness
for it: "Oh, I used to
just
threaten him, if he didn't do that, I \ras gonna brcak his guitar- I
loved the way he did that." Remember, in the crosspicking sections (measures 1-2, 56 and
l7-23), hold the left-hand
positions to build a layered texture of sound-
Although the solo is complex, it's
graceful and not at all awkward to play. It
js
well
desi gned f or pl ayi ng on an acoust i c gui l a'
Farewell Blues
capo on 3rd fret
(c) c
E. Sclroebel
P. Mares
L. Rappolo
G
(v)
fi
i !rvrl
I
n
n FN
-
vn n)
rr
+t_l
lJL,l
( nn
Yt
r l t t
n"v)
Copyrisht O I 923 ty Mils Music, Inc. Copyrisht rcncwed 1950.
Used by ?emnsion. A[ Rights ReFryed.
*
Pick the G string as the open D is sounded by th
pulloff.
27
nn\ / nn
vn.
nvnvn
vnJ
nnvnn
vn
NVNVN
VN
n"n V |.1 n V n
N VFl VNV N
F i nvi r v
( n n v n v n v
n r r v i O
n FVnFvn.
l r v
- V
nVr ' 1)
-
r - l V- n v
r i n
nvFV
n V-
- V
t 1
-
V
n Vn Vn V
Fl V
n
-
nnvn
( n | r vnv
n nnVn
V.
n nVnV V. l
nn
V nnV
n
NV NVNVN
n
a Vnnv
( | 1 r . 1 nv nv
*Similar
to the above;
pick the G stnflg
(sixth frct) as
you arrive at the seventh
fret of the D strin
with the slide.
2a
25
A(?)
D(7)
Eb( 7)
81
E
E
30
l )
2)
G
*
The last two lines of tablature are two sepamte endings:
l) As on the iecord, moalulating to the key of E on the guitar' (Actual key of G because of
the capo position.)
2) An cnding in C as Clarence might have
playcd it had there been no key changc
30
T- I
*
- F
fi..
r
lE
+
v
J
..'-
v .\-'.
e
T
29
t l
,onn
Henry
Clarcnce plays this one pretty fast with a strcng, ddving pulse.
The break is ext.emely
characterjstic ofhis style. See p.
18 for further commentary.
phn
Henry
capo on 2nd fret
c
t 0
Traditional
C
\ vn
- -
n nvnv
.J
n Vn i . l VJ
a
u
--tl-
t-f-
e - r
|J-L,,J
n
( v v vn 11 n nv nv
- 1l l
n
- V
N V'
| 1nva| . t
( nVnV| r
u-J-,t
N F NV FV
l'-J
- nv
n F nv)
30
I
(et c. )
(etc.)
N VF V V.
N NV V V)
n V Vn
-
V
n n
Vn
V
( nv v v v
n VN V
-
N NV V
nV
V- nv
N VF V V
( - r 1v v v
31
Sallv Goodin
It's interesting here to see the differcnt ways Clarence played the fimt part of this tune'
Part Ar
(1964)
follows the melody closely. lt's pretty straight, but has a f-ew tasty twlsts-
Aa
(1973) is slightly more improvisatory and
prcsents a vadation of the basic melody.
Finally, in .4.2, A3 and A5, he probes the depths of the tune with much more exploratory
improvisation and some really great licks. Stjll, the melody is clearly the inspiration
You'Il find touches of syncopation throughout these break. At the end of Part A1,
the last note ofthe section is tied into the next measure and becomes the first note of Pafi
Br as well!
(Measures
l0-l l
).
Part A3 : Notice the down-strokes on off_beats which are used lbr added emphasis on
some ofthe sliding double stops.
Be rcady for some heavy syncopation in Part 82 (measure 9
),
and enjoy yourselfon Part
A5 it's terrific
guitar playing!
Soily Goodin
(tw)
capo on 2nd fret
Traditional
Part A I
G
'u
,:>\-
G D
a)
a
( | 1V
, ' Fr' -"
a
(n
( vn n)
( vn t r v
+t l l J
( - v
v11 v n nv)
' p.t"
fr
a)
(v)
. Fl . > >
*
Rolled grace notes: seb
P'24
Some other vari ati ons on Part A
(1964)
Part A2
G
(n NV
V)
-J
( nv
vn)
Part A3
G
Q
Yt
I
r
( n vF) n
=>
( vnv)
f
| 7 - .
(n v)
nn
nV V vn)
-
Solly Coodin
(tgzs)
capo on 2nd fret
Part ,{4
Traditional
G
f,r_
( nvnv vn v v)
G
D
a' ----/
15
G
D
Part 82
vn
n v)
-
( n nY"
Y
v
( - v nv v)
(l
.FJ'
VN V
-
NV
-\
F] V V- NV
Part A5 20D
Billy in the lowground
The triplct figurc you see in measure I is very characteristic. You'Il find it in several other
brcaks as well.
If you oompare the
phrase in measures 3-4 with that
jn
measures 1 l-12,
you'll see how
Clarence was able to cont.ol and vary his emphasis. The flrst passage accents the fourth beat
of the measure, the second, the "and" lollowing the fourth beat. These passages vividly
display his distinctive sense ofphrasing.
Part B l uses a delightful combination of syncopation and melodic crosspicking. Hold
down the notes in the crosspicking
(measuresl9-22
)
for that "stringy," free-ringing sound.
G
D
,!t
\-t
( n nv v-
'\J
\-' +
- V
V- nV vn nv)
I
Billy rn the Lowground
capo on 2nd fret
Tradirional
(n
vn
F
( n F VnV)
vnv
-
v v)
n
( r ' 1 Vn V
( n v ? v nv)
Part B I
nl l
( nv
VFNV
VN.
nvl r v vn)
( n
vn v
V- NV VN
NV NV V N)
Fi
*
Don't bend too much. Just choke it slightly.
a) l
, "6
i ?; L
n nvn n
v
r JVn
"n
nn)
c 30
G
ul
, N VN11V
( | 1 NV NV
n
-
.
V N V
- V
-
V
;
- . t er t '
V . V- V V
e
n)
(alternate Part B)
Part 82
C
( nV
V)
( 3i )
T-
. l,__J-_
. } , o ( nv r r v v)
( nv v)
( , 3
(v)
( - v v)
Listen to the Mockingbird
Played at a medium-slow tempo, this is a beautilul and delicate version ol the tune- Aim
fbr a pretty, clear and ringing sound. For example, the fi$t note of measure 2 is written as
an eighth, but let it ring to hannonize with the open B string which follows. Likewise, hold
the ncxt note (second fret of the G string) xs you piay the one after it (fint frct ofthc high
E string). Clarence is playing a harmony to himself here.
Listen to the Mockngbird
capo on 2nd fret
(c) c(?
)
G(?)
10
(v) F] V |1 V V F NV NV- V)
( nv nv v nv)
40
*
f.,-
: fade oll the note by sliding down the string while slightly releasing vour
left hand
prcssure'
I
A clearlv articulated slide is not hear'l. Instead,
you should
get a sort of "sighing"
effect'
4l
iJ l#
c(?)
c(7)
d
' w'
e)
' \ t t /
-
( n
t v Yn
v vn
- )
Nine Pound
Hammer
This cut contains some of the most impressive bluegnss guitar playing
on reco.d.
Clarcnce plays
five separate breaks, a1l with a sp.rntaneou"
feel. Nev...t.uying
too fu. fiorn
the melody' he manages to turn out one mouth-watering phrase
after anotherl The musrc
ilows wiih an energetic ef'fervescence that only in thc finest musicians goes tranA in ,ruu
with such convincing ideas.
Hi sf i $t f our br eaksar epr esent edher e. Maki nguseof al ot of ni ccbl ucsyl i cks, r r ey
demonstrate just
how much can be done when a g.eat
imagination
is turn"j foo.. o" ,
' i nr pJc
bl ui gf r ss r unp. l \ e u5ed r . . enl mJr ks mor e c\ t r n\ i r cl y I n l l r esi l r . r n\ cr j pt i on. , n
an
al l cmpt r o cnr \ ( ! l hc Und of pul ce r hat Cl df i ncr
act i r \ e\ _
Roland, itc, md Cldence White
+5
Nine Potrnd Hammer
l st Break:
The accented slidc in measure I is one ofClarence,s
trademarks. Ile echoes and reinlbrces
the lilst note of the measure (open
G) by sliding into thc same note on the D string. These
slides also found in measurcs 5 and 6 are highly charge{:l and should sound like mlnor
explosrons.
capo on 2nd fret
Tradition&
a
9,
. 1: '
-
VF)
oJJ
( n r r v v)
( vvn)
vn n)
(n V l r V v
-
2nd Break:
Some tricky right hand antics here. especially in measures 8_l l. In measures 9-10 the
notes in parentheses are muffled with left hand damping and sound more l;ke rhythmic
clicks than real notes. The hammers are heard prominently. There's a lot of rock and roll in
this passage!
G
G D G
<-2
a-
.J
a- J
( n nv
v
tr,/
|
!,
t3
_, w
F)
10 c
UF- -
nn
) . u
-
VN VN
>-
' . '
>'
, . '
},
.Y.+"
y,q
+ B
(n
v v)
3rd Break:
This solo starts offwith intense energy that builds to a iienzicd outburst olbluesy norcs
in the tburth and fiflh measures.
c
l 0
( NV
V
-
VNV VN NV V)
( - v
o-
]o f)^
"
4th Break:
Clarcnce begins ts he does in the first break, but notice how freely he gets into sornc!rung
different. One vcry distinctive touch concs in measures 9-12 . Hc starts with a phrasc
built
arcund descending sixths, and ends up playing
a whole passage
in two voices,
ch.lracteristically skipping across strings t'rom trcble to bjrss.
G
l 5G
D
D
ria
-al-
._;i
-ut a
(P
o t .
-
\ . l t
'
j ' frt: -'t
_-i
a7
+
17
I' maPilgrim
This is probably the most complicated of Clarence's recorded solos. Given the clbow
room aflbrded by a slower tempo, his command of complex rhythms is working overtime.
Throughout this tune there is an underlying rhythnr of ejghth-note tdplets- In the
inlerest ;f sjmplilying the notation, *nat's written as
J
ii actLrally playcd as
i"-p
=
'
ln the middle of the break he lets fly some rapid llre notes which are besi described on
paper as rcgular sixteenth notes. In these passagcs (measures 19'2O,22 24 and 28-29) tltc
beat is divided into four parts rather than thrce. The opposition of this new division to the
prevailing triplet feel, and the speed at which these notes are eftbrtlessly recled off, combine
to prcduce an efTect that will sruely make your jaw
drop.
At this tempo the pick direction follows no simplc rule. The ones I've indicated seem to
me. after many ear-iatiguing hou$, to best rcproduce his sound l think it's a
pretty
accuratc rcconstruction ofthe way he pickcd the notes, but
jf
you ind that something else
better suits your own right hand, you needn't feel bound hand. foot and pick to my
-ugrcsri ons.
I hope you ha\ c a chani e ro herr t ht recordi rgl
Im o Prlgrim
capo on 2nd fret
Traditic
- - n
l t Fl nn nn
- vn-
n
,18
l 0
.) - \_-
.l{l
t
-
ll'-
N FVN VN V
+J. +
' t '
-
| r V
-
n V nV
->
n Fl VFV NV
- 3-
- 3>
G
t 5D
nnnn- n- -
n
-
11 nFl
- nn- -
:
l #\
"| . 1
i . 1V nV V
N V N V
, V
jf"'"'
"W_t
n nV F n v Fl
-
nl 1 vnl ' l n
! n
v n n
-
n VFl Vnv
c
20c
>: | f 3
n vnn- nv
\r
-r
- V
N V
-
V ?
V
| >' 3
- . J-
"
:
- Y' . - ' W
' t
. vt i v vl . 1 t r v
v
biSu
#ig.
-
.
n | 1
-
Vn V
j t - .
-
. . ' >- .
nnv_n11 l . ' ]
-
-
I ' t
nn11nn| ] nn- vnvn \ / n v11 l . 1v
- nvl r v
"
_
t - J- ,
n
n| l VnV
V nV n nV
n
-
v
-
vnv
- -
VNVf l - VNV
D
(et4.)
v -)/)
-
.ilU.
n n v av n v
-J
'-
-
n V- V| . 1n
50
(etc.)
BarefootNellie
Li vi n i nr he?asl ( 1964)
Shot from guns, out and out flatpicking. Play this twice as last as is humanly possible
and Clarcnce will still beat you to the finish line.
capo on 2nd fret
G
l 0
F
Traditional
15
D G
J
\.lh'J
ll
rt-l_,J
a
Sheik of Arabv
Li!i. in lhe Past (19641
li was a real shocker to hear this tune played by a bluegrass band back in 1964 and
Clarence's strange guitar playing
makes the performance
evcn more surprising. With an
impossibly active right hand, he plays a kind of accompaniment to himself while the
melody emerges on top. Listen to the record: try to get a sense ofwhich notes fotm lne
melody, and play so that those notes are prominent. His second and third bfeaks on l-lle
record are even crazier.
Sherk of Araby
capo on 2nd f uet
H. Smi
T. Snyd
F. Wheel
n
-
nvn 11 n nv- v
c
I
n V.
vny
-
f
-ri
-
<tt
n
-
V V VN nt r v v)
( - - + nV
n+n nVnV
Copyrirhr O 1921by Mills Music,lnc., Copyri8hl renewed
Used sith Pernjssion. Ali Rishts Reserved.
52
( V Vn V VN N
V
t7lf r7lt
(r)
l.l
j at ' l ' t t ' ' -
nVn nV V)
e
( vn nv nv n n+v n
t 7
n n nvav
('l
(J)
O
v
11 V n / . r V
nvJ
aJ
r+. r+
-
\r) \.)
( F nVn V N
Y^.
V.
Y
J -J)
TT
f^^ f-^
v
r)
A7
(+)
V V- VNV NV V V
N nvnvn) (r1 n
Y^^
nv
n Nl . 1
n.
n v v)
( nu n
nvnvnvn
New River tain
The
(entucky
Coloneb 1965-1966
You might hear a little Doc Watson in the first break and a touch ofJoe Maphis in the
second!
capo on 4th fret
Traditiona
vn v)
F
G(?)
"
\J l-r+,
rrtl
!-LJ
( nv
0
t o- . JJ
I
'lF
l 0
c
r sc
(n
I Y^^
yr_. t
"
j . . .
j J JJJt
-
e <- - ' '
54
NVNV V N V Fl
- v
Vn)
( nv
nv nvnv
vnv)
( n
t ' n v)
b
F
*
Soldier's
foy
On this old fiddle tune, Clarence is about as straightforward as he gets. He shows here
that he can run with the best of them in this more standard style of flatpicking. Cornpare
this to his morc typically unusual arrangement on
..The
New Soldier,s Joy.,,
-
Soldier's
Joy
capo on 2nd fret
Traditiona
F
c
c
10
c G
t a)
- aa- J
-
.tl .
' J
a)
*
_-l
l-
H
-
The Kentucty Colon6b at N.wpo.t, 1964. L to R: RoL.d lvhite, Bfiy Ray Larlm, Ct tdce Vlire, Rosq Busn
The New Soldier's
foY
Trrc Xeniucky Colonets 1965 66
"New" is ight! Clarence
gets a striking effect by tuning the A string down to G and
playing the tune
jn
G
(a capo on the second fret
puts it in the actual key of A) The solo is
characierized by the droning ofopen strings
(G-D-G) and a rangy right hand that
glides back
and fofih across ihose st ngs. The low G string is the mdn drone, so let it ring whcnever
yoo hi t i t
(f or exampl c, i n measores 8-10 and 21-23)'
In the Kentucky Colonels's a.rangement ofPart A, the band highlights Clarence's solo by
simply strumming a C chord on the first beat of every measure Part B then opens up into a
more nomally flowing rhythm.
The New Soldier's
/oY
A string tuned down to G
capo on 2nd fret
Traditional
Part A
G
( Fv nvn nv
10
T_
z
1.
f
a
t ' rJl tJ
(v)
.
1.
,
<-
U'
! J \ 4: . t 1- 11
e- i i i
.
?_iJ t_-
.
+. +
- ,
-J
,
J
u
- + - +t 1.
t ai
a
j \ J
( nv v v n)
v v vn)
v
' +
a
( nv
+
a
n)
--1
T
I
\ t r
/
7
v)
' t
nv
I
n)
7
( nv
/ l
v v vnv)
+r+
7a
| ]! +
r
r+
I
I
fulius
Finkbine's
Rag
Livin in ihc Pasl (196s)
See if
you can guess the real title to this one Hint: it's an old Texas fiddle tune
(Answer
bel ow-)
Taken from a live recoftling maale at the
peak of the Colonels's activity' this break will
put your dght hand thrcugh some anxious moments. I'vc gjven a couple of suggestions for
the fi$t line. but I'll leave you to your own devices in the syncopated
passage in measures
9- I 0 . and in thc crosspj cking section later in the tune.
Be surc to
play the sixteenth-note
pull-off (as in measure4) very
quickly so that the
following no; falls squarely on the off-beat This kind of little flurry had become setond
naturc to Clarence,
Measures 5 6 : Clarence skips across the strings to play the low G note as a drone while thc
melody continues on the G and D strings. Starting on the fourth beat ofmeasure 5' hold
down the low 6 and the F abovc it with
your left hand until the fourth bcat
()1-
the next
measurc. He gets a similar effect in measure 27
Measures 17-22: Again, holl the left hand positions so that the notes in the crosspicking
patterns linger a while.
M.asures 23-24: This
phrase is a real cutey. Thc descending, then ascending line on the B
st ri ng
(8t h f ret , 7t h, 6t h, 7t h, 8t h) shoul d be emphasi zed.
capo on 2nd fret
(c)
Tr adi t
!
ctzr
c
( - v nv
a) a
(r
T
- j j t
vnv n)
1
.fi.
Ff{ }uount.{
lr.asre
(: )
ee
G(?)
G(7)
2s
G( 7)
c(?)
*
Bend the lower note of the double stop with your second finger as you hold the top note steady
with your index finger.
20
c
. aee
l l *
"
(v)
Q 2_'
' YJ
' -\t
J
0vl
r'
(v)
6t
Alabamafubilee
Clarence brings his usual array of syncopated rhythms to this ragtimey chord progression.
But what makes this solo particularly
recognjzable is his use of the droning bass srnng
(measures
1-3 and 7-8) as he plays the melody on higher strings. (See
also
,.Julius
Finkbine's
Rag," "The New Soldier's Joy" and "The Sheik of Araby.,,) He combines this effccr wrth a
somewhat unrBuai crcsspi cki ng pat t em
j n
measures l 7-i 9_
Alabama
lubilre
capo on 2nd fret
Georse L. C
i
D(?)
O t9l5 Wrner Bros,,Inc. Copyrignt Renewcd. All Rights Res.fled,
(n- n n)
rir
h
f
n-
v| 1)
( n
nv
62
ll"-'/ ''J
( nv
! un
ltu \!_7
Jr-
nv v| . 1 f i
v
7
-+
T
- VNV
V V, |
eJ
-+ -+\ -,
r- / -+
eea
( nVnVnV- V
- +-
e
nvn)
<-.-
(x)
"
_.
ftJJ
.
(v)
G'
i u*
fi qi
' vtt
( n v
t
-
Jbt
v)
+The
notes in parentheses
are muffled with left-hand damping for a slightly funky efiect.
If You're Ever GonnaLove Me
This is a very nice break to a song co-authored by Leroy Mack, former dobro player with
the Kentucky Colonels. The beginning is
pretty and melodic and leads to a very nifty
phrase in measure 5-
In measures 11'12 the accented notes
predolninate. Hold each of them for a full two
beats. The higher notes sefle as embellishment.
The tdplets in measure 13 are very fast and are hard to play cleanly. This wholc measure
really depends on a quick and limber ight hand.
6.1
If You'rc Ever Gonna Love Me
I oDJTEhLO l o- J br t ar edo
puot i *r i onr ,
Bu. b. 1t , a br r . ct j r r o.
AU Risl' ts Rerned. Lrsed by Permtrsjon.
Buck Graves
l.eroy Mack
HH
v
?J
, . J
(n
v)
' - - . 1
ilty
blflt
( "?
vnv)
AfilJ' - ' ' -
I r l
i 1
l-s
+l-J
I t ' -
- - \
+
rnt .-r---
1----:
u
..
\.]
nVnv n V- V V
, , ' 2 r ,
t
( n
yi
Y.
ll'J
'-\+tJ._
nVnV
V- V)

Dark Hollow
Another heavily syncopated
solo fueled with improvisatory, jazzy
phrasing
(as tn
mcasures 6 7 and l 0-11).
Play the doublc stops in measures 6_7 by plucking
up with the second and third fingers of
your
tght hand. Pick thc lowcr. singte notcs witl.r down_strokes
of th" fl";il.'ii".",r""
used this techniquc occasionally
in hjs bluegruss and more frequcntfy
in fris.iectric gu,tar
work. Don't
sloat roo much about getting
that plr**
a.\v" tf,."J, fr;;;;;';;i""..,
"
l i ght crl i ng l ast t dpl ct t o dcal wi t h i n t he nex. measurel
.,
This tune is playcd
at a moderate tenpo, so the piok
djrection is quite
flexible ir spors.
:::1,:i' 1.u.'"11t.
u,ndard rxte (alrhough
Ctarencc probably
mJe'"_*nlj."ri"
ut
",
"u
playng
some of the n,'ore heavily accentcd syncopatcd
notes with ao*n"irot"r.'r"
tl. fir.t
l i ne, wi t h i t s i ong st ri ng of orl bcat not es, you
may want t o' sc a down-st roke or t wo. l , ve
rnade some suggcstions,_but
at this point yolr
should feer free to 1bl1.*
v.r.'i"rti."._ .r*,
bc surc that what you pray
is rhythnricelry
correct and that it makcs ..nr. ,, io|:'"., .,nprru.i,
Rut r d JnJ Ct r enr t Jr Lhe Ash cr o! e
66
Dork Hollow
capo on 5th fret
(n) n
-l t -J
n
( Fv vn
v
vn v n)
: u +
nY
+
l ( n v
n V |'1
"n
V
( NV V V V F vnv vFv)
( V
V)
*
Let these notes ring.
"
!=,1r' -
n
( v nv
.
a_.
-_-
+\
-
l l V
+.J-,--.
.
n
VVV
iu'brEl
Vn nV V)
Backup
I'm a Pilgrim
Cl arencc of t en t ook t hc l i bert y of provi di ng
mel ocl i c f i l l s and background rext urc behi nd
the singcr or the other soioists. Ilcrc he highiights rhe spaces in the mclody and
compl ement s Rol and' s break ni cel y. Try pl ayi ng
t hi s part ei t her al ong wi t h t hc recor. l ,
j f
yoLr' re l ucky enough 1l : ) havc i t , or whi l e somcone el se si gs or pl ays t he i une. Thi s i s a
t ri l nscri pt i on ol -Cl arcncc' s backup t o Rol and' s sccond bf cak.
:
. ' :
,
t ...;n-:"i;,iir'
l r l : : 1: : : l i l ,
] ] . . '
' r, t,:,'
rl
rf
!
'l
I
I
68
I'm aPilgrim
(backup)
capo on 2nd fret
l 0 G7 C
tt t. --_; .t
7
|
\'.-t'-
q
NH
Clarence\ regular bluegrass backup was always strong and steady. At the same time, it
was usually tinged with syncopation. He used some unique stnrmming pattems
anal had his
own way of playing bass runs. What follows here is not a transcription from a
particular
tune, but a backup afl.angement to a typiral bluegrass chord prcgression
usj;e many of
Ciarence\ favodte backup licks. ln pmctice,
he wouldn't use this much svncoDation in one
chorus-it would genenlly
be intempened with more straighrforward b;cku;. Here it is
presented all at once to give you the most in the space available. The two basic effecrs you
should notice are syncopated bass runs (measures
2 and l2) and syncopated notes in rne
strumming pattems (measures 9, 10, 11 and l3)
G
.
:tE--
+l
.
I
r l Jl r
( nv
l r
t
F)
Ji t +t l
- t -
r l
r:,
( nn
V v n n V11V)
( ] 1v
v nv N V FV
V . V F
-
V nV
( n n V nV f l n vn)
Discography
Bluegrass Guitar:
The Kent ucky Col onel s
New Sounds al Biue!<rass lmefica
Appal.dchian Swing: I'he Kentuck! Colo els
reissued asi
Thc Ke tucky Cokrtcls
(funne
!-
The
(:ountry
Ba):s)
The Kent uLky Cabnct s, 1965-1966
Lirin in the Past
Kentu(b CaLrtels II
The White Brothe^
The White Bnthe\
(The
New Kentu(ky Colonel\)
Tut Taylor
l:-Sttins Dobro
Dobro Country
Eric Weissberg, Marhsall Brickman & Conrpany
New Dinentbus in Banjo atld Bfuegra\s
Thi s record i s al so avaj l abl c, wi t h ext l ? curs, as rnc
soLrnLl t rack t o t he movi e, , Del i vcrance. "
ent i t l ed:
Du?line Banio!
Country Cazette
Don't
(;ire
Up Your Du.y Jab
Electric Cuitar:
Thc Byrds
Sweetheart of the Rodeo
Dr. Byrrls and Mr. Hyt(
Tlrc Dalldd oJ Edsr Rider
Untirled
1hc Best af The Byftt! (Crcatest
Hits Votume II)
Joe Cocker
Nashrille West
*Bri ar
109, 1963
(out
of print)
*Worl d
Paci f i c ST/ WP 1821.
l 96zl (out
of pdnt )
Liberty/United Artisrs, Lrd.,
UAS-29514 (out of pri nt )
Rounder 0070
Si erra-Bri ar SBR 4202
Rounder 0098
Roundcr 0073, I 973
Worl d Paci f i c ST/ WP 1816
(out
of pri nt )
Worl d Paci f i c ST/ WP 1829
(out
of pri nt )
Ei ekt ra EKS-723E, 1963
Wamer Brot hers (S) B 2683
United A isrs UAR-LA090-|,
19t 3
Warner Brot hel . s 852787. I 9?3
Col umbi a CS 9670
Col umbi a CS 9755
Columbia CS 99.12
Col unbi a CC 30117
Col Lrrnbi a C 31795
A&NI SP 422.1
Wamer Brot hcl s B52787
Si c a-B ar SRS 7801
'FThese two records are curenily available from Sierm-BriarRecords,
p.O.
Box 5g53,
pasadena.
cA9r 107
7l
the complete
bluegrcss
sounc
fromOqk
I
Blu9rals Guiiar
Larn rror. iranscr ptions
in the sty es
of C ar ence Whi t e, Dan Cr ar y, Char t t e
Wa er, Peter Bowan and others Over
30 t uf es I t abl ar ! r e and musi c f ot a
$5.95 with record ins
The f rst and on y
lnsrruction book
coverlng a I the basics. Wirh the music
of Bil l\4ofroe, Bobby Osborne, Jesse
McReynol ds, Fr ank Wakef i e d and
$5. S5 wl t h r ecor dl ng
Blusr.33 Sonsbook
Over 130 o d t i me, t r adi r i onat , "new-
srass,"
gospel,
and novelry btueqrass
songs in a new tab arure for
suitar or
banj o, wi t h wor ds and chor ds f or each
song. P[ ] s, speci al t i ps on sl ngi ns f r om
Bi i l / l onr oe, Raph St af t ey, Lesr er
F att, Jesse t!4c Reyno lds, Char ieWa r
and other bluegrass
srears.
$5. 95
Bluesfass Banjo
"H ghly recommended without reserv
tian The Ranjo Newslettet. 45 tabl
t ur e ar r angement s, eement ar y t o a
vanced. Sect l ons on pl ayi ng
i n gr oup
l neodi c ( "Ket h")
st yt e, banj o car
$4.95
Available at your local mrsic and bo(
stoEs o. directly iromr Oak Pub[catior
Oept. BA, 33 Wst 6orh Srreet, New Yo
10023. Poase add 50d for oonaoe ar
handi i nq. Wr i t e f or FFEE. at al oq.
t-'
milusfl
l trR\fP
t_\w_/Ls
ffiilffiffiililtililffiffiililffimffi$ft
o
a Nr nr r r on co.
.^,,
AM
Ef
21Day
Each book ln this ne.w
ser i es pr esnt s an l n dept h
study of a master bluegrass
musl cl an and hi s mLr si c.
Thse players have all had
a maj or l nf l uence i r t he
world of b !elrass- Each of
t he books cont ai ns acc!
rate lranscriptions of the
artist's tunes and breaks-
many prb lshecl here ior
t he f l r $ t i nr e
pl us a bi o
oraphy, lnterviews,
photos,
and an ana ysi s and expl a
nation of specific stvles
Avai l i bl e r l 106l ml si c nor es
Mu5i{, SJl.s Corporation,
D01. BA,33wst 60 r Sireer,
Plase add 50dfor postase and
har l l nq. Wr i t a f or or r be. ut i
fu ly i llnratd FFEE cara o!,
Clarence White/Guirar
Billy in the Lowsround
Listen io the Mockinsbid
Nine Pound Hammer
000222/s4 95
Vassar Clements/Fiddle
Crossins the Catskilk
Stumble
Lonesome Fiddle Blues
000223/$4 S5
Bi l l Kei t h/ Banj o
Salty Dos
New Campiown Baces
A Night in Tunisia
000221/$4.95
Jesre McBeynolds/Mandolin
I Don't Love Nobody
Dill Pickre Bas
Salty Dos Blues
Si:ve in the Vallev
Gpl i t - sl r i ns t chnl qua)
000220/$4.9s
Ahoul3 ttheAutllilor:r
Rusdl Barenber! k one of today's flne,st
blreorassguitarists. Over the yea6 he's
also been involved with blues and ia,z,
and has developLd his own distinctlve
style reflecting a wide range of m!sical
inlllences He has remrded wilh such
notables as Counlry Cookins, Tony
Tr i schka, and Fr ank Wakef i el d. Rl ss
presently residcs in New York Ci1y,
where he is an active teacher and per
f or mer . He pl ays wl t h Hear t l ands, a won
der f ul l y ecl ect i c musi c
l r oLp,
and i s cuF
r en11y wor ki ng on hi s own al bum f or
Russ is ale the author of How to P/ay
Btueg.ass Guitar \A.on Music Press) and
feath You6elf B ltEg.ass G u/tal
(Amso
l\/lLrsic Publishins Company)
Itttu!'rdds
ooo222
rsBN
0-8256-0222 X