FINGERPICKING How To Play oO Sass Fingerstyle Guitar Soles By Mark Hanson 14 Guitar Solos 70-Minute Instructional CD Standard Notation & Tablature Tunes and exercises played at slow- and performance speed foots Pe ee CE Coen) eedThe Art of Solo Fingerpicking How to Play Alternating-Bass Fingerstyle Guitar Solos Mark Hanson ny kat CD Program 1. “Strawberry Curl 2. Introduetion and Tuning 3. Exs. 7B. 4. “Red, White & Blue Rag’ 5.Exs. 3A-D 6. Exs, 4A-F 7. Exs, ISA-D 8. Exs, 16A-C 9. Ex. 7A 10. “Devil’s Dream” slowly 11. “Freight Train” slowly 12, Ex. 224 Exs. 234-D 16, Exs. 32A-C 17. Exs. 33A-D 18, “Over the Waves” 19. Ex. 364, 20, Exs. 37A-B 21. Ex. 384 22. “Etude” 23. Exs. 404-C * slowly 24, 26. 28. 29. 30. 31 32. 33, 34. 35. 36. 37. 38 39. 40.1 41 42 43, 44, 45. Exs. 414-C “Bill Bailey” slowly “Dedicated to Mississippi John Hurt” Exs. 46A-B “Golden Valley” “Flier” slowly Exs, S8A-C Ex, 59A “Good Time Blues” Exs, 62A-B & 634 Ex. 64A Exs. 70A-B Ex. 71A ‘Strawberry Curl” slowly “Red, White & Blue Rag” “Twin Sisters”Foreword | liked Mark Hanson’s First book, ‘The Ad Of Contemporary Travis Picking, a lot. Asa teaching method it was clear and precise—a thorough introduction to the tchnigues of Americ: picking that have come 10 bear Merle ‘Travis’ name, This book, The An of Solo Fingerpicking, is an extension of the frst, moving on 10 more complex, self-contained pices with the same practical approxch tion 0 detail As the title implies, the musical selections are not confined 10 traditional material, More recent pieces are ‘included which illusizate the ways in which such hallmarks of the Travis style as damping, altemating-bass, sya- copated treble patterns, aul right-hand rolls have been adapved by contemporary pickers, A comprehensive guide ‘o further listening, from Doe Watson to Jimmy Page, i listed inthe appendix. Bocucen thm, thse boks cove aft of ground, with Th At Of Compara Travis Picking doe ‘menting an essential American guita style, and ‘The Aq of Solo Einserpicking bringing the music right up to date | would recommend this book very highly, and hope that i will further the legacy of the great Merle Travis, —Jolun Renbourn, February, 1988. | remember hearing Pat Metheny at Red Rocks whett he talked about the nut that seems espectally peculiar vitar players: we tend to find a comnfortable place and stay there. Oue styles become our habits. ‘The nice jnout Mark Hanson's book The An of Solo Fingerpicking, isthe opportunity it gives to Fingerstyle players to catch up on what other people are doing, to pick up some of those possibilities we've igmored along te way. ‘Mark knows the territory, Sections like the one on freving up the thumb—a subject dear to my heart, and thumb—demionsteate thal Mark writes from a guitarists perspective, not only an acilemic’s Best of all, the materia i fam ‘other assorted drivel to get Mark's point, an impor foundering around in the dark Wo play, You don't have fo bore yoursell to death with nursery rhymes and 1g players who deserve some reward For fet for bexinn Leo Kottke, February 1988 Pblised ty ACCENT ON MUSIC 19363 Willamete Drive, #252 West Linn, OR $7068 Allrights reserved No par of this book or cassette may be reproduced or transmitted in ny form or by any means, electronic or mechanical, including photocopying, recording or by any information storage an terieval system without writen permis- Son fom the author, except for the inclusion of brief quotations ina review. Copyright © 1988 by Mark D. Hanson Copyright includes all text, original music, end musical arangements, both printed and recorded. First Printing 1988; 10.98 Printed inthe Unite States of America Library of Congress Cataloging in Publication Data Hanson, Mick D.1951 The Ar of Solo Fingerpicking (Original ie: Solo Style Contemporary Travis Picking) How To Play Altemating Bas Fingerstyle Guitar Solot / By Mark Hasan ar Continues: The Art Of Contemporary Travis Picking ISBN 0:936799.03.X Paperback & Compact Dise 1. Guitar. Methods — Sel Unstrction. 1 Tide MTS88.H28 1988 TS6VOTI2-de19 Litexy of Congress Catalog Card Number 87-7218Contents 4 Introduction 4 What You Need To Know 4 The Music And Cassette 5 Hand Position 5 Right-Hand Position 6 Left-Hand Position 7 Alternating-Bass Fundamentals 8 How To Practice 10 “Red, White & Blue Rag" 13. Beyond Pattern Playing 13 Freeing The Fingers 13 Rearranging Finger Notes 4 Variations On Rearranging 14 Deleting Finger Notes 15 Adding Finger Notes 18 “Devil's Dream’ 20 Freight Train” 22 Freeing The Thumb 24 “Fishin' Blues” 27 "White House Blues 32 Alternating Bass In Other Meters 32 Quarter-Note Meters 33. Eighth-Note Meters ‘Over The Waves Additional Thumb Techniques. ‘Thumb Plays Melody Overlap Of Right-Hand Thumb And Fingers ‘Eaude" Right-Hand Rolls Taree-Note Rolls Four-Note Rolls Bill Bailey’ “Dedicated To Mississippi John Hurt” Five-Note Rolls “Golden Valley” “Pier” Damping Left-Hand Damping “Good Time Blues” Right-Hand Damping Rest Stroke Combining Left- And Right-Hand Damping “Twin Sisters Gaining Speed: Left-Hand Articulation “Sirawberry Curl” Appendices Appendix A: Tablature Appendix B: Glossary, Guitar Information Appendix C: Contemporary Travis Picking Pieces ‘Acknowledgements ‘The Author SSORRESSSSERRRE SSeiaeasargas Crit Scar ate acaged Pox Fat estan hy ttIntroduction “The Travis Pick guitar style is familiar to millions of listeners through the recordings of such well-known guitarists as Paul Simon, Dan Fogelberg. Leo Kottke, James Taylor, and Chet Atkins. Itis named after Merle Travis, the late country guitarist, singer, and songwriter, who popularized what became known as "Travis Picking” in the ‘0s and 50s. The style first was recorded in the United States as early as the 1920s, This hook i continaton of my frst book onthe alteating-hassFngepickng guitar syle, The Anat Contemporary Travis Picking. Whereas. ‘Travis Picking taught pattem playing and introductory melody paying, Sola Fngctnicking takes ihe sudet well beyond thse levels By taming the ‘ight-hand fingers to pluck any note at any point in the measure, total independence of the fingers will be attained. Solo Fingerpicking teaches more than finger independence for the right hand, however. It also demonstrates how 0 substantially alter the thumb patterns, without leaving the altemating-bass style. Other advanced tectiniques covered in this book include plucking melody notes with the right-hand thumb, right- and left-hand damping, bass-pattern rhythmic variations, playing in meters other than 2/4 or 4/4 time, and right-hand "rolls." By mastering all of the techniques and pieces in Solo Fingerpicking, students will have attained a level c proficiency and understanding ofthe alternating-ass style reached by few guitarists What You Need To Know Fingerpicking experience is helpful in successfully managing Solo Fingerpicking, but non-fingerpicking guitarists with good left-hand ability should be able to manage this book, For guitarists without fingerpicking ‘experience, pay close altention to the explanation of right-hand position on pages 5-6. ‘An understanding of de four basic Travis Picking pattems and their variations also is help. The Art of ‘Contemporacy Travis Pisking provides a thorough explanation of those techniques. A short review is incladed in this book on page 7. All music is presen Standard notation and tablature (TAB). I you don't read either, eam tablature~it ‘can be leamed very quickly, and is easier to leam to read, Tablature is explained in Appendix A on page 76. Bold ‘numbers in the tablature indicate notes plucked by the Thum. All unusual chord forms used in this book are iagrammed withthe pieces Unat use tem, ‘A general music vocabulary is contained in the Glossary (Appendix B, p.77), Guitar information (i., siting names, ight-and left-hand abloeviations) also is found on page 77, A selected list of fingerstyle gu included in Appendix C, page 78 ists worth hearing (and some of their alternating-bass recordings) is The Music and CD ‘The music in The Art of Solo Fingerpicking ranges from quite casy to very challenging. The picces include ‘original compositions and arrangements by the author, as well as pieces from highly regarded English puitarsts Jobn Renbourn and Martin Simpson, and others. Copyrighted material is used by permission ‘A compact disc is included as an audio tcaching guide to work in conjunction with the book. It contains all of the musical examples at slow and performance speeds for ease in learning. The CD also contains the pieces played at regular performance tempo. All music in this book is played in standard ming (E Ad g be’, lowest pitch to highest), unless otherwise nowated.Hand Position Right-Hand Position The Travis Style Merle Travis produced his characteristic sound by muting the bass strings with the hec! of his right hand (Fig, 1). This technique produces a beautiful effect but seriously reduces the angle between the Thumb and the strings, making the guitarist dependent on a thumbpick. I prefer to Keep the right hand free from the top of the guitar (Fig 2). ‘This position allows the full sound of the guitar to project, eliminates thumbpick dependence, and provides a technique that is more easly adapted to other styles of playing. Fig. Fig. 2 Hand Position ‘Using no picks, cup the palm of the hand above the strings, keeping the fingers together and fairly straight. Cross the Thumb over the Index finger so that an upside-down "V" is formed between them (Fig. 2), Sueiching the ‘Thumb beyond the Index keeps them from colliding when they are picking simultaneously. ‘The fingers are pulled upward across the strings primarily by the large knuckle (the connection to the hand), rather than by excessive bending of the smaller knuckles. The Thumb moves from its base, remaining straight as it plucks downward. ‘The hand itself should remain almost motionless, with all of the work done by the Thumb and fingers Please no 1) When playing accompaniment patterns in the altemating-bass style, the fingers of the Right hand should never rest on the strings before plucking them. In Solo Fingempicking, however, a full chapter is devoted to damping strings with the fingers of the Right hand. But until you reach page 62, try not to rest your Right-hand fingers on the strings. 2) Some fingerpickers rest a finger or two (or three!) on the top ofthe guitar as they pick. I recommend the "free hand’ position instead, so that the Index, Middle, and Ring fingers all are available for plucking. 5Use Of Picks The *high-arch” position of the right hand tends to fatten when I use a thumbpick (Fig. 3). The fingers curl ‘more to compensate for the decreased height ofthe palm above the strings. T use a thumbpick whenever I need to play especially loudly, or play flatpick-stye inthe middle of a fingerpicking piece. Fie 3 | prefer to pick with my fingernails rather than with fingerpicks. A rich tone is attainable by brushing lightly across the string with the skin of the fingertips and releasing with the nail. Picking with the nails also eliminates the bothersome clacking of fingerpicks. Good quality synthetic fingernails are available for fingerpickers with weak or broken nails--but practice extreme caution with products that use toxic glues. Some players use a flapick to Travis Pick, either playing all the notes with the pick, or plucking bass notes with the pick, and treble notes with Uie Middle and Ring fingers. This produces a hand position similar to Figure 3, Using a flatpick works well, but offers much less diversity in the Travis style than picking with your Thumb and three fingers If you profer to use picks, I suggest a lightweight nylon thumbpick and lightweight steel fingerpicks for steel-string guitars, and a thumbpick and no fingerpicks for nylon-sting guitars. Try bending the stel fingerpicks to the contour of your finger. This might provide a better "feel" through the picks. You might also ty filing uhe ends of the fingerpick to a dull point for a cleaner release from the strings. Teft-Hand Position ‘Two basic left-hand positions will be used in Solo Fingerpicking. For one of the positions, the thumb of the left hand is high om the back of the neck, with the left wrist fairly straight. This position allows the left thumb to fret the sixth string, ‘The curve of the back of the neck of the guitar will fit nearly lush with the flesh between your left thumb and index finger. ‘The otier basic left-hand position places the thumb lower on the back of the neck, about halfway between the ‘bass and treble sides. ‘The left wrist is low, and slightly bent. This position allows the left-hand fingers much more freedom to stretch and reach on the fretboard, Some chords will require a four- or five-fret reach with the left hand. ‘This is possibie only with a "low-wrist" position Summary [Above all, both hands should be relaxed and comfortable. Smoothness, speed, accuracy, and tone all depen (on relaxed hands, 6Alternating-Bass Fundamentals Four Travis Pick Patterns ‘The Travis Pick style is characterized by an alternating-bass pattern plucked by the Thumb, ‘The meter is almost always two or four beats per measure (2/4, 4/4, 678, or 12/8). Rule #1: The root note of the chord is always the first note plucked by the Thumb. Rules are made to be broken, of course, but adhere to Rule #1 for the time being. Ex. 7A shows a standard bass pattern in 4/4 time on a C chord: To produce a complete Travis Pick pattem, treble notes plucked by the Right-hand fingers are added to the ‘Thumb pattern from Ex. 7A, The treble notes most often ft into one of four distinet patterns: Pinch, Inside-Out (- (0), Outside-In (O-D, and Deseending-Arpegeio (D-A). All of these pattems may be played by the ‘Thumb and Index finger alone (as Merle Travis did). However, plucking with the Middle and Ring fingers--in addition vo the Thumb and Index--provides more variety and a fuller sound. At one point in Solo Fingerpicking even the Little finger of the Right hand is incorporated into the picking scheme. Ex. 7B illustrates all four Travis Picking pattems, plucked by the Thumb and three fingers. In general, the ‘Thumb plucks the three bass strings, the Index plucks the third string, the Middle plucks the second, and the Ring plucks the first. However, chords that have the root note on the fourth string (D7 in measure 2, for example) do not use the Ring finger for plucking. Measure 1 of Ex. 7B illustrates the Outside-In pattern (so named because the outside finger {the Middle or Ring] plucks before the inside finger (the Index]). Measures 2-4 illustrate the Inside-Out, Pinch, and Descending Arpeggio pattems, respectively.How To Practice ‘A few simple rules: 1) Strive for good tone, This is critical. The music must sound good. 2) Practice the pieces at a slow tempo. You may be surprised at how much better your pieces will sound if you practice them slowly as often (or swice as often) as you play them at full speed. 3) Isolate trouble spots. Practice each troublesome passage by itself until you can play each one smoothly. ‘Then resume playing the entire piece. 4) Maintain good rhythm. Even when practicing slowly, play ata steady speed. Use a metronome with new pieces. 5) Always be musical. Make your pieces sound musica trough good tone and steady shythm, even when practicing at 1/2 speed. Practice diligently! ** The Ultimate Goal: To make good music at every stage of your development. 5 nite, eee Ee, che 8 Posted ratte avethrn by srtRed, White & Blue Rag "Red, White & Blue Rag" is ragtime piece in the style of guitar legend Doc Watson. It uses mainly the pinch pattern, with slight variations. The piece is very similar to "Over And Out Rag” from The Ant Of ‘Contemporary Travis Picking, and works nicely as a medley with it Performance Notes: 1) All C-chords: Fret the fifth-and sinth-sting notes with he left-hand ring finger, either altemating back and forth, or feting both at once (i you can manage). That leaves the ite finger available for melody notes on the treble stings. 2) AllF-chords: The sinh string is freed by the thumb. A bare-chord fingering may be used forthe Fchords, ‘wih the ring finger frening the fourth sing, 3rd fret. The lite finger then i available forthe second-string “ruses notes, I you cant manage either F fingering, ty this: Pluck the open fifth string in place ofthe sinth-srng noes, This requires you to finger only the four eble strings. 3) AllG-chords: Te lefthand ring finger frets the slat string 4) Measures 17-18, 25.26: Finger the Dm-chords as marked (index, mile and tle). Tht allows much easier access to the subsequent Gtulin7-chords (measure 19 and 27). 5) Measures 21 and 29: Finger the Em-chords with the index finger on the fourth string, 2nd feet. This sets up an casy fingering forthe suosequent harwmer-or/slie. 6) Measures 22-23 and 30; The alternating bass disappears 5) Measures 31-32: The suggested G13 fingering is middle on fourth string, thumb on sixth, ring on second string, ‘owing tothe fist sting forthe G13, Important: The melody must stand out, No matter how interesting the accompaniment is, itis just that; accompaniment. And remember, don't play too fast too soon. Strive for good tone, clean playing, and solid rhythm,Red, White & Blue Rag Mark Hanson t C1G Caads/G ce FoF c OG 0Cidin b cB ene me oe EeBeyond Pattern Playing Freeing The Fingers In this chapter, we will break away from the restrictions of the four basic patterns. The goal is to be able 10 pluck any string with any finger at any given place in the measure; this will allow you ultimate melodic freedom in the Travis Pick style. For the moment, the alternating-bass patier played by the Thumb will remain unafTected. ‘There are three ways of breaking away from pattem playing withthe fingers: 1) Rearranging finger notes; 2) Deleting finger notes; or 3) Adding finger notes. Rearranging Finger Notes Each finger will continue to pluck its delegated string: Index-third string, Middle-second string, Ring-first. (Remember the exception: When the Root note is on the fourth string and the allerate bass note is on the third, the Index finger plucks the second string and the Middle finger plucks the first. See page 7) Ex. 13A shows a normal pinch patiern on a C-chord, using four strings. Exs. 13B-D also use the pinch pattern on a C-chord, but each has a different sequence of treble notes. Notice in Ex. 13B you pluck with the Thumb and Middle finger only. In Ex. 13C the treble notes are plucked by the Ring and Middle fingers. On the first beat of Ex. 13D, the Thumb and Index finger pinch. (This technique occurred for the frst time in measure 4 of "Red, White & Blue Rag,” page 10.) Ex. 138 Ex. 138 Ex. 18 Ex. 18D ‘The rhythm of the original pinch patter is intact in all four examples. The sequence of treble notes is all that has changed. Again, make sure each finger plucks only its designated string. After mastering these four exercises, practice rearranging the Right-hand picking sequences in the other three basic pattems, Start by using only one chord so you can concentrate on the picking hand, B tite, Sean Ee, ached 8 Pes Fats aaa KurVariations On Rearranging Plucking weble notes only on the beat (as pinches with the Thumb) is a common variation in the Travis Pick style. Ex.14A illustrates this variation. ‘This pinch-only variation often is used to move quickly from one chord to another. Measure 2 of Ex. 14B shows how four chords can be played in one measure. The rhythm of the altemating bass is maintained in measure 2, but the bass line is a scale, rather than an alternating sequence of notes. Practice Ex. 14B slowly until itis smooth. Ex. 4A Ex. 148 cy DERG A OD Deleting Finger Notes A second possibility for breaking away from pattem playing is to delete treble notes from the patterns. ‘Again, for this section each finger will pluck only its delegated string. (Be aware of chords with a fourlh-string root.) Ex. 14C is a normal O-I pater on a Dm-chord. Exs. 14D-F are the same pattern, but with more and more finger notes deleted. In Ex. 14F, all of the finger notes are deleted, leaving only the bass pattern intact. Notice that Ex. 14D is nearly identical to measure 17 of "Red, White & Blue Rag.” Ex. 14C Ex. 14D Ex. ME Ex. 14FAdding Finger Notes ‘The third method of developing finger independence in the altemnating-bass style isto play more finger notes than are called for in our patterns. After mastering this section, the fingers of your Right hand will be able o pluck any of the strings at any given point in the measure. For most of this chapter, the fingers of the Right hand no longer are assigned to particular strings. They pluck whichever string is required by the melody. At firs it may feel awkward to pluck the frst string withthe Index finger, or the third string with the Middle finger, for instance. But with some practice, plucking any string with any finger will become second nature. Note: Asa general rule, the Right hand should pluck quick consecutive notes (eighth notes or faster) with different fingers. This is true whether or not the consecutive notes are on the same sting. In Ex. 15A, pluck the open first string with the Middle and Index fingers in altermation. Practice M--M-1 diligently. This finger alternation is the wechnique that will allow you to play fast melodies Ex. 15A Ex. 158 eee ‘Once Ex. 15A is comfortable, try the C-major scale in Ex. 1SB, ‘The lefi-hand fingering is as follows: All Istfret notes are fingered by the index; All 2nd-fret notes are fingered by the middle; All 3rd-fret notes are fingered by the ring, Ex. 15C adds an alternating-bass pattern to the C-major scale from Ex. 15B. ‘The lei-hand ring finger must fret the sixth string atthe 3rd fret throughout Ex. 15C. The little finger will fret all the other 3rd-fret notes. Ex. 1c Ex. 1sD Zote mm mm i Practice Ex. 15C slowly, always alternating M--M-I. There is a lot to think about. It is worth taking the extra time initially to avoid developing bad habits that will be difficult to break later on. Ex. 15D uses the same scale as 15C, it simply goes in the opposite direction. Remember: Keep the rhythm steady, and alternate the Right-hand fingers! ‘Once you have mastered Exs. 15A-D, repeat them, altzmating Index-Middle (I-M) instead of Middle-Index. Become comfortable with both Right-hand patterns, since one may fit a particular passage of music better than the other one does IsExs, 16A-B use melodie skips in the treble. Practice these in the same manner as 1SC-D, always alternating Right-hand fingers. Ex. 16C incorporates chord changes into the eighth-note melody practice. For this example, each Right-hand finger plucks only its designated string (I-third, M-second, R-first). cB aeEx.17A combines scales, melodic skips, and chord changes. This example demands extra concentration on the left hand as well as the Right. The melody notes are not all chord members, requiring the left hand to make ‘adjustments throughout the exercise. Ihave supplied one Right-hand fingering possibility. There are others you may find with experimentation. Ex. 17A c G/B GbR on F c ‘ c Soa SS Se ee eee) f Once all of these exercises are under control, play 15C through 17A consecutively without stopping. Maintain a steady tempo! Congratulations! You are well on your way to becoming a top-notch Travis Picker! Devil's Dream Many fiddle tunes have continuous-eighth-note melodies, making them great exercises for right-hand finger alternation. The melodies usually are accompanied by a steady rhythm and simple harmony that can be played by the ‘Thumb asan altemating bass. "Devil's Dream” is one such fiddle tune, Performance Notes: 1) G6 tuning (DG dg be’ lowest pitch wo highest): lower fit and sixth strings one whole sep 2) Except for the frst-bea chord of measures 1 and S, the enize piece can be played EM-IM, which recommend. Altemate Right-band fingerings are printed in measures 3, 4 and 11. Pluck measures 9-10 as marked (Use the identical fingerings for measures 13-4). 3) Ifyou play "Devil's Dream” with an MT altemation, pluck the fust-sting notes of measures3 fd 11 wich the Ring finger. 4) Lefc Hand Fingerings ') Finger the inal G-chord as marked so that the subsequent FH melody note can be fingered ally. If this G-chord fingering is too dificult, fret only the G note (fist sting 3d re) om the fist bet of measures Land 5. ') A-minor-Play the 2nd fret ofthe third, fourth and fifth strings with a /2 barre by the left-hand middle finger. This fingering requires the frst knuckle of the middle finger to bend backward slighly. Be careful rot to pu wo much pressure onthe knuckle iit isnt sccusiomed to it. The 1/2 bare isan easier fingering to play accurately than the alternative ‘finger chord, Both Gngerings are diagrammed. Altemative A-minor measures (with $3-Linger Am-chords) ae included on page 19. If they are easier for you to play, subsite them for measures 3 and 11, and 7 and 15, respectively. 5) DC. al Codais explained in Appendix B, page 77. Note: Practice "Devil's Dream” slowly to make sure the Right-hand fingering is correct. Both hands must bbe under control in order to play pioces like this cleanly and at full speed. Make sure your Right hand is relaxed and in good position! 0 rete Scores ie Palaned Ponte Fett vate web ohDevil’s Dream Traditional “Tear Araneen Cor © 198 Ma D. Han A Rh Ree 18Freight Train ‘The following arrangement of "Freight Train” is an improvisational section; the regular-melody section is included on page 33 of The Art of Contemporary Travis Picking. Most of the regular melody is found here in ‘measures 17-24, Performance Notes: 1) This arrangement uses mosly the pinch pattem, with iberal additions of rearranged finger notes snd left-hand anculation (hammer ons, pull-offs, and slides). Each finger ofthe Right hand should pluck only its designated string thoughout the arrangement. 2) To achieve a satisfactory sound onthe consecutive pul-ofe in measures 5-6, place the left-hand litle and index fingers on the string on the first beat ofthe measure. 3) Because ofthe hammeron in measures 11 and 27, finger the F-hords withthe thumb fretting the sath string. 19‘weno opis © 1979s 98 Mack Mason Ue By Pomisn OCT Ao. ~ rinse, ead Et Pctgnd 8 Posted Fatt avatar by srtova Dry DVR a Gx6/B> cg eT aFreeing The Thumb Up to this point the alternating-bass pattem has provided the foundation for the Travis Pick style. But there are many effective variations on the regular alternating bass. Rule #1 requires that the root note of the chord be played on the first beat of the measure, Now it's time to ‘break that rule. Measure 2 of Ex. 22A shows a bass patter that uses a chord tone other than the root note on the first beat (an Fi on the bottom of a D7 chord). This type of chord is called a chord inversion, which means a note other than the root is the lowestpitched note of the chord. Often, inversions are used as “passing” chords, providing a smooth, scalar bass line as you change from one chord to another. (Notice the E-F¥-G movement on the sixth string in Ex.22A.) Exs. 22A-B show two common examples of inversions used as passing chords. — o— 3 2— 6 Ly = = I —— —— =m P Oniting bass notes from the pattem is another common method of breaking away from thumb pattems, It often is used to give additional emphasis to the melody. Exs. 22C-D demonstrate this technique. Harmonics are used in the bass patierns of many altemating-bass picces. My arrangement of the traditional tune “Twin Sisters,” found on page 66 of this book, includes many such examples Ex. 22E demonstrates bass har- ‘monics. Finger the harmonics with the left hand; pluck the bass strings withthe right hand. Make sure that you tune {your sith string down to D for Ex. 22E. Ex. 22¢ Ex. 22D Ex, 22E mop ane Sat sving 0) ale ——— = —_ — — —— Harmonics are softer sounds than regular notes, To match the volume of the two you may have to pluck the harmonics a litle harder than the regular fretted or open-string notes‘Another common bass-pattern alteration is to pluck a lower-pitched string as the alternate bass note. The pattem in Ex. 23A may feel odd a first, but the technique can be mastered quickly. Altemate the Right-hand fingers! Chicago blues guitarist Big Bill Broonzy's recordings provide many excellent examples of another variation for the Thumb: Playing the same bass note consecutively . Ex. 23B demonstrates the repeating-bass-note technique. Plucking two bass strings simultaneously with the Thumb is a common technique among Merle Travis/Chet ‘Aukins-style players, It is more of a "brush" strum than a sharp pluck. This style most often uses the brush technique on the second and fourth beats of the measure, in place of a single alternate bass note. English guitarist John Renbourn uses it on the first beat of measure 1 in "White House Blues” on page 27. Try not to alter your right-hand position when attempting this technique (Ex. 23C). Ex. 23C rt re F ‘Many blues fingerstylists combine the techniques diagrammed in Exs. 23B-C. By plucking two (or more) bass strings asa constant, repeating bass, a tremendous rhythmic drive can be generated. Apply this technique to Ex. 2B by plucking the sixth and fifth strings with the Thumb on each beat. Yet another Right-hand ‘Thumb variation adds eighth notes to the bass pattem. Most often this technique is used to provide extra "drive" toward a new chord or measure. Ex. 23D diagrams this technique. At the end of measure 1, fret the Af with the left-hand index finger. BFishin’ Blues Traditional English mult-instrumentalist Martin Simpson's arangement of "Fishin’ Blues” uses several ofthe new bass techniques. Pay close attention tothe left-hand fingerings~they are very important in this piece. ‘The first D-chord ‘may be fingered as a regular D fingering, or a 1/2 barre. Play "Fishin’ Blues” with a triplet feel. Simpson uses 3-2 e wk, My rit s mH Hee ‘ngiate, Scan Ete, Peg Posing ato ven by kat 48 Const ©1968 Miko. A Rid Reseed”be AnajT®Ba/a wn Bate fn £ s ~ - - sis ee gig ee be = + — | | oo oo foo 0 ope = a na) ——— | 93 2 2 pS 6 ° ny » \ ‘gop | b. iu fe $ tof at oe eteete 62, = — 7 7 4 4 4 2 2 =r 2 re ° } & rc eh & 50uae a Festa sets Flier "Flier" uses four-note rolls throughout the second and third sections, beginning with measure 34. If you haven't mastered four-note rolls, use four-note pinches or three-note rolls instead. If you substitute three-note rolls in ir," omit the second note of each four-note arpeggio. For example, the four-note roll in measure 35 (page 54) roquires T--M-R on the ith, fourth, third, and second strings, respectively. A three-note roll would be T-1-M on the fifth, third, and second strings, respectively. Performance Notes: 1) recommend that you fret the sixth string with the left thumb fr all Fand 6 fet Bbchords, Bare chords Iso ‘will work forthe F and Bp chords, but not for BbS, 2) Measures 25-27: Left-hand litle finger holds the high G note (rst string, 3rd fet). 3) Measures 28-30: Left-hand thumb frets the sixth sting for GS, Fmaj?, D/FW, and D7/F¥. 4) Measures 34-59: Keep your lft wrist low and your lft thumb inthe middle ofthe back of the neck fo ll ofthe chords in this section. That allows good extension and curvature for your left-hand fingers. It also ensures that any open strings in the middle of «fingering measures 52-53, for example) are not muted accidentally. 5) Measures 36:37, 40-41, 48-49, and 55: Index finger fei the sith string on Abmaj? and the subsequent G-chord. (6) Measure 41: Slide with left-hand Index finger to measure 2. 7) Measures 42-45: All of these chords use te identical fingering simply one fret lower foreach new chord. On the fist boat of measure 42, fot the foun sting with the lite finger shor after the frst and second fingers fret there, This makes it easier to hit this fingering accurately after the jump from fist poston. 8) Measure 50: Use 02/3 bare. 9) Measure 61: Hammer-on the second sting eventhough you haven't plucked it stFlier Mark Hanson Dee Delt Dre c _-_— a a TT) ee ee Copii © 18 Mak D Hae. AI Rig Reseved ‘ite, ean Ete, Pchaged 8 Posed rate aaa by Kot 2% hes dette ” raise pp a. — —_— Vm Dire OFS c 1 | bate n Fun CEs Se asneix ase ae TE Fessee] 3, es wee 2wie ME wilt oo B60 Pre ance Monae G/Bee = 3 0 3 tt ME wo dos Doane Dat Pn 2 prt Regt ts 55561 Dies DFE ¢ I Coe 37Damping Left-Hand Damping ‘Muting strings with the left hand is something every guitar student fights to overcome in the early stages of evelopment. However, this initial technical "problem" becomes a necessary skill for clean, high-quality fingerstyle playing, ‘Left-hand damping often is used to keep open strings from ringing accidentally. Ex. 58A, for example, shows @ C/G chord with the left-hand ring finger fretting the sixth string while muting the fifth string. This is accomplished by decreasing the angle of the ring finger so that it touches (and mutes) the fifth string while still freting the sixth Ex. 58B demonstrates the same technique on a G-chord: The left-hand ring finger mutes the vibrating fifth string as you finger the G-chord for measure 2. Ex. SBA 2 Ex. 58B oe a” 6 In Ex. 58C, use the left-hand middle finger to damp the vibrating fifth string as you change from AT to the ‘Tuh-fret Em chord. This prevents the open A string (not a member of an E-minor chord) from sustaining into the Em measure, Note: Use as litle motion as possible in the left hand w' attempting this. Ex. 58C 58 ie, ead inden Pad Fat te ater yarAnother left-hand damping technique i wo fret a vibrating sting you don't plan to pluck. For example, on the Fmaj7 in Ex. 59A, use the ring finger to fret the 3rd fret ofthe fifth string. That prevents the open fifth string from ringing into the Fmaj?. Ex. 59A ‘A second possiblity for measure 2 of Ex. 59A is to fret the fourth string with the ring finger, using the ‘back of the fingernail or the flesh ofthe fingertip near the pail to damp the vibrating fifth string. Also, ty fretting both the fourth and fifth strings (rd fret) with the ring finger. Fretting two strings with the tip of one finger is difficult at first~you need to aim your fingertip halfway between the strings. However, earning this technique is worth the effort. ‘Take some time to feel comfortable with these left-hand damping techniques. Visualizing your fingertips as being "wide" or "fat” may help them touch more than one string ata time, when necessary. Remember to fret the sixth string with the thumb on the Fmaj?. Good Time Blues "Good Time Blues” by David Blakeley opens with a quick left-hand movement: After the opening triplet (pull-off and slide), the left hand must move quickly to a first-position Em-chord, with the middle or index finger freting the fourth string, 2nd fret. This passage was introduced in Ex. SSC. Play "Good Time Blues” with @ triplet feel Performance Notes: 1) Watch for omitted bass notes (measures 8,16, 17, and 27), anticipated bass notes (measures 14 and 17) and ‘bass seals (measure 15), 2) Measures 2,4, 6, and 8: On the frst beat, damp the sat string with the left thumb, 3) Measures 3, 5,7, nd 9: Just prior to beat one, damp the ith sng sustaining from the previous measure 44) Measure 13: On the third bea, damp th four string with she left-hand index finger. 5) Measure 16: Consider using push-offs instead of pul-o. Suetch the second and fourth strings toward the shit string before releasing them, Thats a push-off 6) Measures 18 and 20: Keep your left wrist low for the Cm6, 1) Measures 22-24: Use a fll bare in the left hand, 9Good Time Blues David Blakeley ——— —- — =P i ¢ asic ddd) cP ‘ a) c anarce 2 ry , re ee ee 3 co & ” a pect ot 2s aise 2 fe He Be Eg ops ©1971 Dasa ey a 9 Aan On Ma A Ri Rete Usd By Prison ‘rant Sean Este and Pn Fis bon ya.—— | —_—— — om 7 6 ces Ge adds Gee ab — mr Ge Gadd Gee od bd, 5 Sd”Right-Hand Damping ‘The most common Right-hand damping technique in the Travis style is muting the bass strings with the heel of the right hand. ‘This isthe technique that gave Merle Travis and Chet Atkins their characteristic "boom-chuck” muted-bass sound. See page 5 for more on this technique. ‘The fingers of the Right hand also get involved in damping, particularly during left-hand pull-offs. In Ex. 662A, touch the first and second strings simultancously with the Ring and Middle fingers, respectively. Pluck the sixth and second strings while holding onto the first string with the Ring finger. Now pull off the second string withthe litle finger. Ex. 624 Est — ie For most guitarists, he left-hand litle finger will brush the first string after the pulloff, causing the first string to ring accidentally. Muting the first string with the Right-hand Ring finger will prevent it from sounding. Note: In Ex. 62A, the left-hand litle finger can mute the first string itself by coming to rest on it after the pull-off. This is a common technique in single-line guitar playing, but is more difficult when the remaining fingers are freuing a chord, ‘The Right-hand fingers can damp already-vibrating strings by simply coming to rest on them. For example, fon the first beat of measure 2 in Ex. 62B, rest the Ring, Middle, and Index fingers on the first, second, and third strings, respectively. That prevents the ucble strings from ringing into the second measure. Practice holding onto these theee teble stings all the way through the measure, as the Thumb is plucking its solo lin. Ex. 628 ‘This exact damping technique is used with great effectiveness on the first beat of measure 13 ol Sisters” (page 66). o{In general, right-hand damping is not as effective for players who wear steel fingerpicks, because of the "lick" caused by touching steel to steel. If you wear picks, experiment with the angle at which you damp the strings with the Right-hand, and also with how hard you grab the strings when you damp them. ‘A method of damping an individual bass string is to touch it with the side of the Right-hand Thumb as the ‘Thumb prepares to pluck the adjacent higher-pitched string. In Ex. 63A, mute the open fifth string with the side of the Thumb as it prepares to pluck the fourth-string F. A slight flattening of your Right-hand position may be required {odo this, The filth string should touch the side of the Thumb between the thumbnail and the knuckle. Rest Stroke ‘The "rest stroke” isa right-hand technique from the world of classical guitar that is worth knowing. This technique produces a different tone--some would say a “richer” tone-than the “free” stroke that most Travis pickers use, Ttalso can be used for damping a sting adjacent tothe one being plucked. To play a rest stroke, the plucking finger simply comes to rest on the adjacent lower-pitched string immediately after a pluck. For example: Pluck the open second string with the Middle finger. The Middle finger then comes to rest on the third string. ‘The Thumb also can use the rest stroke, resting on an adjacent higher-pitched string. For example: Pluck the fifth string with the Thumb, which then comes to rest on the fourth string. Now go back to Ex. 62B. Practice using a rest stoke with the Thumb when you pluck the initial bass note of ‘measure 2. This will produce a strong tone from the open fifth string, and will mute the fourth string if it is ringing accidentally from measure 1. Also, mute the three treble stings in Ex. 62B with your Right-hand fingers as you did before, but this time 4do it as your Thumb plucks the fifth string with a rest stroke., Good Right-hand position is mandatory (see Fig. 2 on page 5) for this technique tobe successful aCombining Left- And Right-Hand Damping Ex, 64A (measures 10-11 of "Twin Sisters") is an excellent exercise for combining right- and lefi-hand damping. This exercise uses D A d g a tuning (often called "D-suspended” or "DAD-GAD"]. To produce D Ad g a 4, tune your first, second, and sixth strings down one whole step. (On the first beat of measure 1, rest your Right-hand Ring finger on the frst string as you pinch the second ‘and fourth strings. By doing this, the subsequent pull-off will not affect the first string. Continue holding the first string until the Ring finger plucks it after the second beat. In measuse 2, damp the open third string om the first beat by fretting it with the index finger. Do this even though you don't pluck the third string, 2nd fret, until the next beat. For a clean sound on the Am? (third beat of measure 2), touch the first, second, and fifth strings with the Right-hand Ring, Middle, and Thumb, respectively, but pinch only the second and fifth strings. Simultaneously, ‘mute the fourth string by fretting it with the left index finger. This is tricky. Your Right-hand Thumb may ‘automatically try to pluck the string thatthe left hand is frewing (the fourth string inthis case). Ex. 648 an De Ant Please Note: This passage may seem complex, but with practice your fingers will be as good at muting. notes as they are at sounding them. Work hard at it. Damping is a necessary technique for really clean fingerstyle playing, Cy rane, Sco ae Pacages ore Fate ushame by aTwin Sisters "Twin Sisters" is a fiddle tune from Gaither Carlton (flatpicking legend Doc Watson's father-in-law). It uses right- and left-hand damping extensively. The piece is arranged in the style of old-time banjo, an instrument with considerably less sustain than a modern guitar. Because ofthat fact, andthe liberal use of open strings in D AD GA tuning, damping is very important to the overall sound of the piece. “Make sure the melody always stands out. Performance Notes: 1) Pay close tention to all recommended left- and right-hand fingerings. 2) Be aware of damping open strings withthe left hand, expecially when changing from one chord tothe next. 3) Measures 1-4: Notice the bass varition. 4) Mearure 6 Damp the firs ting on the first beat with the Right-hand Middle finger. 5) Measures 6 and 22: Alerate Right-hand fingers on consecutive eighth notes on the same string. 6) Measures 7, 10,23, 25,38, and 43: Pluck with Ring finger where suggested. This sets up the Midile and Tndex for subsequent plucks on other sings. 7) Measure 10: Damp the Fist string on the first beat with Right-hand Ring finger. 8) Measure 11: The Dm is fingered like a rst-posiion D.chord in standard raning, 9) Measures 12,14, 16, nd 18: On the first bes, damp the second and third strings with he Right-hand ‘Middle end Index fingers, respesivly, as you pluck the open fourth string withthe Thumb. 10) Measures 13,15, 17, and 19 On the fr bea, damp the second, third, end fourth strings with the Right-hand Ring, Middl, and Index fingers, respectively. 1) Measure 2 On beat one, damp the fet and fourh strings withthe If hand litle and mide fingers, respectively, and damp the sixth with left-hand thumb. 12) Measure 29: On the three bas strings, finger what looks like a standard-tining fist postion D-chord. 13) Mearure 29: On the frst beat, touch the sixth, fifth and fourth strings withthe Thumb, Index, and Middle, respectively, but pluck only the sixth and fifth 14) Measures 37-44: Pluck harmonie harder than feted noes to balance their volume, 15) Measure 40: Thumb plicks& higher pitched string than she Index finger pluck tat immediately preceded it. 16) Measuces 45,47, and 49: On the frst beat, damp sith string with left-hand thumb, 17) Measures 45, nd 51: Am?** fingering is used to damp the third and fourth stings.Twin Sisters Traditional ‘abo Arango Capi © 988 Mack Huson ARs Reel, Ort enn cy ted, Pacaged Pore Frat ratory Ktobh aust partGaining Speed: Left-Hand Articulation ‘Another important technique in advanced altemating-bass fingerpicking is left-hand articulation: hammer-ons, pull-offs, and slides (also called slurs). Using slurs in conjunction with proper right-hand fingering will allow you to achieve considerable speed in fingerstyle playing. For Exs, 70A-B and Ex. 71A, the tuning is D A dg bd’ (lowest pitch to highest). Lower the fist and sixth strings one whole step. In Bx. TOA (the first six notes of "Strawberry Curl,” page 73), consecutive hammer-on/pull-ffs make the right hand's job easy Don't play this exercise fast until you have it under control In Ex. 70B (the next 6 notes of "Strawberry Cul"), be sure to alternate M-I on consecutive plucked notes. ” ‘rin Scr a, Paape Peta Fao sentra by huIn Ex. 71A, barre the first and second strings withthe index finger at the 7th fret. Try not to release the preceding litle-finger note (third string, 9th fret) too soon. Remember: Always alternate Right-hand fingers when plucking consecutive eighth notes in a melody. 0 0 8 ° Left-hand damping often is very important in melodic phrases such as Exs. 70A-B and 71A. In Ex. 70A, as you fret the first melody note with the middle finger, decrease the angle of the finger to mute the frst string. This prevents the subsequent hammer-on/pull-off from sounding the first string accidentally. For the second hammer-on/pull-off combination in Ex. 70A, mute the frst string with the left-hand index finger, also by reducing the angle ofthe finger so that it rests on the first string as it frets the second. ‘You will find that many of the melodic notes in the first section of "Strawberry Curl” need to be fretted with a reduced angle ofthe left-hand fingers. In rapidly-moving pieces like "Strawberry Curl” this technique can mean the difference between clean and muddy playing. 1Summary ‘Upon completion of this book you will be able to master most any piece inthe alternating-bass style. Your understanding of the style, and your technical mastery of it, puts you at a high level among fingerstyle guitarists. Congratulations! Enjoy your playing! Strawberry Curl "Suawberry Curl" is a fiddle tune-like piece, in triplet time (12/8 has four main beats, with each beat divided into three parts). To produce the D A d gb’ tuning, lower your first and sixth strings one whole step. Performance Notes: 1) Measures 5 and 7: Finger all ee leftchnd notes on the st beat 2) Measure & Bare the first two strings a the 7th fet immediately before the fourth bet. '3) Measure 10: Use the left-hand Ite finger to fet the sith string, 5th fre. {4) Measure 17: Damp the open sixth string with the left thumb onthe fist beat of measure 17 '5) Measure 21: On the fourth beat, damp the open ith string with the ai ofthe left hand middle finger ast es ‘he fourth string. This keops tho fifth sing from sustaining into measure 22. (6) Measures 20 and 24: Sustain the second melody note ofthe measure (A: 2nd fret, third string) until the pul off Mer the second best. 17) Measure 29: I you cant reach the 5th fret ofthe fourth string with he loft han lie finger, pluck the open (rd string instead (it isthe same note G), Remember: Always alternate Right-hand fingers on consecutive plucked eighth notes nStrawberry Curl Mark Hanson Bapa ie 4 6 i ome on on SE aR = : = = 5 ;— |] +" a 2 ° ————— oe 0 piobl we ye Leh 4bask Ge cree te oe bs F on bate Dy wie 25s ee Tats Saas aS eee Taal at a é ay 145) 7Appendices Appendix A Tablature ‘Tablature (TAB) is @ notational system designed to show the instrumentalist at which fret to depress a string when plucking that string. Tablature has two main advantages over standard notation: 1) it indicates left-hand position, and 2) it is much easier o leam to read. Tablature also has its disadvantages, but for this book I recommend learning TAB if you don't read either. Six horizontal lines represent the six strings of the guitar; Treble: 768) He in Mi Bass: E (6th) ‘A number on a line indicates at which fret to depress that string as you pluck it. Bold numbers designate notes plucked by the Thumb. Lighter-type numbers are notes plucked by the fingers: 768) 5 i 4 t In Ex. 76B, a C-chord, you pluck the stings in this order: }) fifth string frevied at the 3rd fret, 2) second string freted atthe Ist fret, 3) fourh sting fretted atthe 2nd fret, 4) third sting open ("0" means an open string). ‘The stems and beams underneath the staff denote the ehythm: 76C) Count: ai & 2 & — — Ex. 76C contains four eighth notes, each receiving 1/2 beat in 2/4 time. To produce the correct rhythm, ‘count evenly "I & 2 &" with the notes as you pluck them. (Other rhythmic markings you will see include: © = whole note (fall measure) Y= eighth note (1/2 beat) P= hatfnote @ beats) Yo = oat eighth (34 beat) P= cone nattnote 3 beats) LU = wiplereighths (1/3 teat each) |= quance note (1 beat) wl = Skea ote cu boa |= dotted quarter (1-172 beats) LLL) = ——foursixtonths (1/4 beat each) “HY (Hammer-On),"P" (Pull-OMf), and "S* (Slide) indicate notes articulated by the left hand. 6 ‘neste, eens Et, Phan 8 Posted rata wacom By KartAppendix B Glossary ‘Accompaniment: Misia backround provi fora melody ‘Antcpations One not ofa chord moving tits pion n new cord before the other notes move ‘Arp: Noro chord payed consectvely ner than imultanensy. aces Lowest pu of « musi comporion. Chore: Tre or more res sounded ager. Twontes together geal ae called an interval Cos: (I) A contoing paste ofa composition. DiC al Coda: (Du capt) Go buck wine begining ofthe. Pay anil op exc hen pay he CODA DS. % al Coda: (Da Segno) (.) Go back to the sign $& . play until you reac, then pay the CODA. “Drop B Tining: Stender turing except tha the 6th sng () i lowered one whole sep D. Duple Meter A tine sgnae tat evenly divisible by two, Sak as 24 and 44 Eighth: 6 Y Note or rest that receives 12 best in 2/4 or 4/4 time. It receives 1/3 of a beat in 12/8 time. (12/8 has fot bes pr mene cch with es ebsvsons) ote eighh (feces 38 of «Dain 2 48, Fine: (It) The end of a piece First Position: The end of the guitar neck, fist to fourth frets, we Stoke: The most common type of Right-hand picking in fingerstyle playing. The Righthand finger does not touch any other string during its follow-through after plucking a string. Fret: (Noun) Metal strips across the fingerboard that mark positions for depressing strings. Also called fret wire. (Verb) Pressing down the strings with the fingers of the Tet hand. Hammer-On: Sounding a note by hitting a string with a finger of the left hand, rather than plucking withthe right Hatt Now: P mm Note or ret that roceves two beats in 24 or 4/4 tie. Dowd halt (Pam) receives three beat in to beats in 12/8 aversion: A chord that has a note other than its rt note az ite lowest sounding pitch. For example: D/F# and G/B. Measure: Space between two bar lines in written music. The number of beats in x measure is easily determined by Tooking at the upper number ofthe time signanure: 3/4 time has three beats per measure, for example. Melody: The main part of a hsrmonized composition, In this book it isthe vocal part, of the part played on the treble strings of the guitar in instrumental pieces Note: The sound of one plucked string, either open or feted. Open String: String that is not freed, Passing Chord: A chord with the primary function of facilitating a smooth change between two other chords. For ‘example: G/B can be used as a passing chord between C and A minor PulLOft: Sounding a note by plucking a string with a finger of the loft hand, rather than with the right hand. uct Ne tir on in 210 A ine, Rees 29 fn 128, Ae uae CP" Be) recsives one beat in 12/8, one and «hal in 24 o A Rhythm: “The regular (or iregular!) pulsation of music. Root Note: Fundamental note of a chord, It has the same name as the chord. Sinteonth: J J Nove that receives 1! best in 2/4 or 4 time Slide: Sountting « note by sliding to 4 new position on the fretboard Slur: A note sounded by the left and (Hammer-On, Pul-Oif, or Slide) Sus: Suspended, A chord comprised of the 1st, 4h, and Sth notes ofits scale instead of the normal 1st 3rd, and Sih Treble: Upper part of a musical composition Triplet: Group of three notes that takes the same amount of time as two similar notes usualy take: = boat in fd ime. Guitar Information Standard Tuning. Right Hand Left Hand String Name Number Hingee — LouerName Finger = Name Eng, (Span) Treble: 1 ‘Thumbs Tp Thum: T » 2 Indes Indox: 1 ' 3 Midd: = Mom Middle: 2 é 4 Ring Ro@ Ring 3 A 5 Lil: 4 Bas: E 6 n vine Scand ae, Pacaged A Posed ats eaten by ttAppendix C People To Hear Imitating good playing cannot be overemphasized when learning the alternating-bass style, It provides you with new and challenging techniques, and is very good for developing your ear. Great recordings for learning solo- and. ‘accompaniment-style Travis Picking include Bert Jansch’s Lucky 13 (Vanguard, VSD-79212), Dave Van Ronk’s Folksinger (Prestige, PR-7527), and Merle Travis’ Travis Pickin’ (CMH Records, CMH-6255). The following isa list of alterating-bass pieces. Most of these recordings are listed in the Phonolog at any ‘record store. Records not listed in the Phonolog can be found through Down Home Music (10341 San Pablo Ave., El Cerrito, CA 94530), Village Music (9 E. Blithedale, Mill Valley, CA 94941), at used record shops, or at your library. Contemporary Travis Picking Pieces ‘Ackerman, Wm, Townshend Shute, Tortion Bar Atkins, Chet Black Mt Rag, Siboney, TilSee You In My Dreams ‘Baez, Joan Lave Is Just A 4-Letter Word Basho, Robbie Rodeo, Variations On Grieg Beatles ese Pradence, Julia Bensusan,Piere LaMarche Du Sonneur Egare, Pure Drop/Fiax In Bloom, ‘Town That I Loved So Well Brown, Greg AAI The Money’s Gone Carthy, Martin High Germany, Lord Franklin, Two Butchers Cooder, Ry Ditty Wah Diy Crosby, Sis & Nash 4 & 20, Helplessty Hoping D‘Agortino, Pppino Acoustic Spirit, Song For Robbie de Grass, Alex Alpine Melody, Window Denver, Jha | ‘Country Roads, Poems Prayers And Promises Donohue, Pat Grandpa's Spells, Moan You Moaners Donovan Jennifer Juniper Doobie Brothers Toulouse Sweet Fahey, John In Chst There Is No East (Or Wes, Poor Bay A Long Way From Home, When Springtime Comes Again (3/4 time) Finger, Peter ‘A Berrymanis Tune Fleetwood Mac Landslide, [Never Going Back Again Fogelberg. Dan Leader Of The Band Graham, Drvey Banish Misfortune, ‘The Gold Ring Grossman, Sifan __Loope's Comer, Why A Dock, Woman From Donor Heat Dreamboat Annie, Here Song.Hedges, Michael Layover, Lenono Jansch, Bort Biss Rim The Game, THave NoTime, ItDon't Bother Me, Running From Home, Soho Jol, Eton Love Song, Johnion, Michael Give Me Wings Jods Sleeping Heart Kansas Dast in The Wind Kaukonen, Jorma Embryonic Journey, Genesis, Death Don't Have No Mere, TBe All Right, Candyman Kottke, Leo Air Proofing Two, Fisherman, Brain Of The Purple Mountain, Busted Boyle, Jack Fi Louise, Vaseline Machine Gun Lang, Peer Lyeurgus, Halloween Blues, Round Worm Reel, Wide Oval Led Zeppelin Going To Califomia Lightfoot, Gordon Si Down Young Stranger Loggins, Kenny Danny's Song. MeEntize, Reba How Blue ‘MeLean, Don Castes in The Ar Magdelan Lane, Thee Fights Up MeTell, Reiph Sweets Of London Pentangle Cruel Sister, Sweet Child, ‘Trees They Do Grow High Peter, Pal & Mary For Baby (For Bobbie), Puff, Great Mandella Proctor, Chris Huckleberry Hompipe, (Over The Pass, Reno, Winfield Rag Prine Joh Sallin’ Around Qualey, David Norwegian Fantasy, Opas 21 Reitt, Bonnie Louise, Too Long AtThe Fair Reed, Preston Basta Pasta, Digialia, Shenanigans, ‘Straight To The Top Reid, Harvey (Canal Stet Strut, Restless ‘Man, Old Portsmouth Town Renboum, John Lite Sue, ‘Shake Mama Shake Roth, John (Crary Horse, Z The Cat Rush, Tom Childs Song Simon, Paul ‘April Come She Will, Boxer, Kathys Song ‘Simpson, Marin Lalu’ Back In Town, Roving Gamble, Yo-Yo Blues Tylor, James Something In The Way ‘She Moves Travis, Merle Jelly Rell Blues, Key To The Highway, There! Be Some Changes Made Van Doser, Guy Black Beauty, Miss Brown ‘To You, Check To Chock VanRonk, Pave Blood-Red Moon, Cocaine Blues, St.Louis Tickle Vega, Suzanne Gypsy ‘Watson, Doe Deep River Blu, Doe's Guitar, Weary Blues n gs, Sand Edd Pchoges Pst Fatt avashomans ysAcknowledgements My biggest thank you, of course, goes to my family, especially my wife, Greta Pedersen, for extraordinary contributions to this effort. Tips of the hat go to Phil Hood and Jim Hatlo, former colleagues at Frels magazine, for sharing their knowledge and enthusiasm so generously. ‘Thanks to these important people: Jack McManemin of Salt Lake City for cover and hand-position photos; Nicholas Hanson of Seattle for the photo on page 26; and Patrick Mahoney of the Mac Resource Center, San Jose, California, for support well beyond any rational expectation. Special thank yous go to guitarists John Renbourn, Leo Kottke, Martin Simpson, and David Blakeley for their generosit and interest; to Professor Leland Smith for his Score music typesetting program; to Bill and Kris Stambaugh of ABS Consul Services for computer assistance; to that paragon of paste-up, Diane Gershuny; and to Saroyan Humphrey for the cover design. ng Thanks also to the folks at Gryphon Stringed Instruments of Palo Alto, California, for their continuing friendship and help; and to Charles Albert and Greta for help with the recording, tly, want to thank all of the students on whom Ihave been allowed to experiment teach me to teach. Keep practicing! nce the early ‘70s. You have helped The Author With music degrees from Stanford University, Mark Hanson and his wife Greta Pedersen ‘own and operate Accent On Music. Mark has authored well over two dozen books and videos on many aspects of guitar playing. As an editor and columnist at Frets magazine, Mark interviewed such luminaries as James Taylor, David Crosby, John Renbourn, Michael Hedges, Leo Kottke, Roger McGuinn, Jorma Kaukonen, Martin Simpson, and Pierre Bensusan, Mark's writings appear in Acoustic Guitar maga: zine, and his recordings are heard regularly on syndicated television and radio. Mark performs as a guitar soloist, and teaches workshops around the country. He has shared the stage with such greats as John Renbourn, Laurence Juber, Pat Donohue, Alex deGrassi, Pat Kirtley, Peppino D’Agostino, Stephen Bennett, Muriel Anderson, Doug Smith, Terry Robb, Paul Chasman, and the late Jerry Garcia, From Accent On Music and Mark Hanson * The Complete Book of Alternate Tunings * Alternate Tunings Picture Chords * Masters of Hawaiian Slack Key Guitar * The Art of Contemporary Travis Picking * Triad Power for Guitar + The Art of Solo Fingerpicking * Flute & Guitar * Paul Simon Transcribed * Fingerstyle Noél + The Music of Leo Kottke * Leo Kottke Transcribed * Beginning Slide Guitar * 12-String Guitar Guide * Fingerstyle Videos, Books, CDs, and Much More! For more information, contact your local retailer. For a free Accent On Music catalog, send your name and address to Accent On Music, Dept. AM 2 PMB 252, 19363 Willamette Drive Wiest Linn, OR 97068, E-Mail: infomtaccentonmusie-com www.AccentOnMusic.com“Mark knows the territory. .. Best of all, the material is fun to play.” Leo Kottke “1 would recommend this book very highly.” John Renbourn "A master teacher and player.” Guitar Player Magazine “1 wanted tget serious about solo guitar, and your book was the perfect answer. The Art of Solo Fingerpicking seems ike a sft. T.S., San Jose, CA “For the past 26 years I have played acoustic guitar music. Your books are the best 1 LE., Los Angeles, CA “The Art of Solo Fingerpicking has provided me with a firm basis for approach ‘ng Lo Kethes arrangements R.B., Liverpool, England ‘Srawbery Cut?” “Twin Sere ‘Goden Valey" reg Tran “Dow's oream “Over The Waves “Bill Baley” ite House Blues” Eds oa, wri Blo Rag Fier “Desicatod To Masisip John Hut + Triad Power for Guitar + Complete Book of Alternate Tunings + Alternate Tunings Picture Chords + Masters of Hawaiian Slack Key Guitar + Art of Contemporary Travis Picking = The Music of Paul Simon + The Music of Leo Kottke + Leo Kottke Transcribed + Fingerstyle Noo! + Flute & Guitar + Beginning Slide Guitar + 12.String Guitar Guide, and much more! For More Information, Contact Your Local Retaller, or: IN 9-9567-9 ‘Accent On Music 19963 Wilamette Dr. #252 West Linn, OR 97068 USA Exclushely dstibutes by "780936" 799852" IMusle Sales Corporation, Catalog Ordar No.: AC72506 SBN 0:996709.00x USS19.95