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Volume 2, Number 5 July/August 1998

Martin Guitars
Gary Gordon
John Tindel
Jimmy Haley
Tut Taylor

Flatpicking Guitar Magazine July/August 1998
2 Flatpicking Guitar Magazine July/August 1998
Flatpicking FEATURES
Clarence White
Flatpick Profile: Tut Taylor

Guitar Martin Guitars: Part 2 (1980-Present)

Columnist Profile: John Tindel
Masters of Rhythm Guitar: Gary Gordon
Magazine Confessions of a Clarence Collector 58
Totte Bergstrom and the Acoustic String Bender 70
Volume 2, Number 5
July/August 1998 I Dont Remember 11
Craig Vance
Published bi-monthly by: Beginners Page: Hows Your Ear? 13
High View Publications Dan Huckabee
P.O. Box 2160
Pulaski, VA 24301
Flatpick Rhythm Guitar: Clarence White Rhythm 16
Joe Carr
Phone: (540) 980-0338 Flatpicking & Folk/Acoustic Rock: Open Strings 24
Fax: (540) 980-0557 John Tindel
Orders: (800) 413-8296 Kaufmans Corner: Theme Time 26
Web Site:
Steve Kaufman
ISSN: 1089-9855 Nashville Flat Top: Huckleberry Hornpipe 29
Brad Davis
Dan Miller - Publisher and Editor Break Time: Ron Block on Clarence White 32
Mariann Miller - Sales and Advertising Chris Jones
Connie Miller - Administration
Contributing Editors:
The O-Zone: The Crawdad Song 36
Dave McCarty Orrin Star
Bryan Kimsey May I Quote You On That? 37
Kevin Stevenson
Subscription Rate ($US): Guitar Making: Guitar Woods, Part II 42
US $22.00
Canada/Mexico $27.00
Don Gallagher
Other Foreign $32.00 A Fool Such As I 44
Dix Bruce
All contents Copyright 1998 by Music Theory: Mastering the Fingerboard 48
High View Publications unless Mike Maddux
otherwise indicated
Reproduction of material appearing in
Vintage Voice: The Clarence White Guitar 51
the Flatpicking Guitar Magazine is for- Bill Bush
bidden without written permission Flatpicking Fiddle Tunes: Whing-Ding 54
Adam Granger
Printed in the USA Exploring Bluegrass Guitar: Clarence Revisited 56
Steve Pottier
Exploring the British Islands 72
Beppe Gambetta

New Release Highlight: Jimmy Haley 61
Reviews 64

Flatpicking Guitar Magazine July/August 1998
How to Successfully Duplicate

& Promote an Acoustic-
Oriented CD Release
Think backwards: One year from today what will you
have gained from your recording? Exposure and
album sales to local audiences? National and inte
national audiences? How will you reach your goals?

. Sendyour music to radio. No matter how you define

your goals, you need to get your music to folk radio. One

Weve Moved!!
excellent way to do this is through a radio-oriented sampler
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which get the music of Oasis clients to hundreds of key radio
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Charlie Hunter, of Young/Hunter Management* says Ive
seen cuts on Oasis samplers generate significant airplay for
I mentioned in the previous issue that we were getting ready to move. Well,
previously unknown musiciansairplay that establishes a weve done it! Listed below are our new address, phone, fax, and email:
presence in towns across the country that would otherwise
be impossible for artists to reach on a limited budget. Flatpicking Guitar Magazine
Two sources of non-radio promotion with which Oasis is not PO Box 2160
affiliated (although we think theyre great) are the multimedia Pulaski, VA 24301
marketing specialists at Hidden Water (
and NOMA ( Orders: (800) 413-8296
. Find distribution. When people hear your music on
Phone: (540) 980-0338
the radio and want to buy the CD, will they be able to find it? Fax: (540) 980- 0557
The distribution of recordings beyond local outlets can be an
overwhelming task for independent recording artists. One cost- email:
effective distribution technique we recommend is Musicians on Web:
the Internet ( MOI makes your CD avail-
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processing. (Oasis clients get a deep discount on this service
because we host the MOI site on the World Wide Web).
We would also like to welcome Connie Miller to our staff. Connie will
be answering phones, taking orders and subscriptions, and receiving and
. Think retail-friendly when packaging your CD. sending out all of the mail generally doing all of the administrative work
Your CD needs to look as good as it sounds. While jewel-box
packaging is still very popular, as an alternative you may want around the new office.
to consider eye-catching cardboard substitutes for the jewel
box. Cardboard eco-packages, including the patented Oasis
Jewel-FreeTM Box, give your product a unique and eye- In the last issue we had a misprint of the toll free number for the Euphonon
catching appearance. They are also lighter than jewel boxes, String Company in the classified section. The correct number is 1-888-517-
and can be mailed for less money.
. Work with a reputable duplication company:
Ask for references. Who are the companys clients? Do
they include artists and labels you respect? (Oasis is proud
This issue is a special tribute to the legendary Clarence White. I hope that all
of our work, for example, with Trout Fishing in America, of you Clarence White fans will enjoy the many aspects of Clarences guitar
David Wilcox, Trapezoid, Chris Smither, Brooks Williams,
Steven King, Salamander Crossing...) playing that we have presented in this issue. We would like to thank David
Do they understand your music and your market? Grier, Roland White, and John Delgatto for all their help and expertise.
If youre going to Kerrville for the first time, do they
understand what this means? If your guitar sounds too
tinny, do they know how to fix it? Nerissa Nields (The Congratulations to Allen Shadd, Cody Kilby, and Adam Wright for placing
Nields) says We love dealing with a company that knows
and cares who we are. Oasis is fantastic; they manufactured first, second, and third, respectively, at the Merlefest flatpicking contest.
our CDs in time to make sure we had them for our CD
release at the Iron Horse. And the quality is superb.

Dan Miller


The most Editor and Publisher
conscientious name
DUPLICATION in duplication.

Call our toll-free helpline for free art specification sheets and
mastering logsheets, or just to talk with one of our consultants. Cover Photo: The cover photo of Clarence White was supplied by Totte
Whether its your first cassette or your tenth CD release,
|were here to help you with your decision-making!
Bergstrom of Sweden (see article on page 70). Clarence is playing Tottes
1966 Martin D-18. Totte later had a Parsons string bender built into this
Call toll-free: (888)296-2747 same guitar.
(888-BY OASIS) e-mail us at,
or check out our web site, (selected as
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Popular packages range from 1,000 CDs + 500 cassettes
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2 Flatpicking Guitar Magazine July/August 1998

Flatpicking Guitar Magazine July/August 1998
Clarence White
A Flatpickers Pilgrimage
by David McCarty

Some sounds change everything. The

patriots toll of the Liberty Bell on July 4,
1776. The unfamiliar drone of a piston
engine in the skies over Kitty Hawk, N.C.
in December 1903. The peal of atomic thun-
der rumbling off the high desert plain of Los
Alamos, N.M. in early 1945.
Its the same in music. Single tones or
phrases, so perfect and individualistic, that
we chart our lives by when we first heard
them. Docs guitar sound on Black Moun-
tain Rag. Charlie Parker racing through the
head ofScrapple From The Apple. The
crack of Earls banjo on Foggy Mountain
Breakdown. That shimmering opening
trumpet note Miles crafts on All Blues.
Tonys opening salvo on E.M.D. from the
first David Grisman Quintet album.
For many flatpickers, things changed
forever when they heard Clarence White
syncopating through Listen To The Mock-
ingbird or rollicking over the changes to
Beaumont Rag. It certainly was that

Photo courtesty of John Delgatto

way for me. The very first flatpicking
guitar I heard was Clarence White playing
Soldiers Joy on-stage with the Byrds in
1972 in Indianapolis. I can still remember
the power and individualism White gave
his guitar voice. Along with hearing Eric
Clapton live with Cream and seeing Tony
Rice play with the DGQ of the groups first-
ever U.S. tour, hearing White whistlestop
through such fast, yet unhurried, acoustic his full impact on the guitar could ever be Garcia, Pete Townsend and Hendrix read-
guitar playing stands as the most impressive felt. This month, on the 25th anniversary ily acknowledged Clarence White as a key
guitar work Ive ever witnessed. of his death at the hands of a drunken driver influence and favorite player.
Over the years of his life and since his on July 15, 1973, Clarences guitar playing The cult of Clarence continues today,
death, Clarence has powerfully influenced continues to inspire awe and fertilize the with frantic Internet traffic tracking down
tens of thousands of guitarists. Maybe it musical imaginations of brilliant musicians rare out-of-print copies of Russ Barenbergs
was the way he turned mundane popular such as David Grier, Tony and Wyatt Rice, excellent Clarence White - Guitar book or
tunes likeSheik of Araby and Listen Jeff White, Russ Barenberg, Scott Nygaard, trying to trade tape copies of him jamming
To The Mockingbird into personal state- Beppe Gambetta (who named his son Clar- with folks like Tony Rice. Theres even a
ments so powerful and profound they still ence in Whites honor) and thousands more Japanese newsletter devoted to Whites
stand today unchallenged, monuments to acoustic flatpickers. life and legacy - the Clarence White
a guitarists genius as lasting as the Great Equally brilliant as an electric guitar- Chronicles.
Sphinx of Cheops, and just as mysterious ist, his pedal steel-influenced Telecaster Whites legacy extends even to the instru-
in their origin. sound, which he literally invented as co- ments we play today. C.F. Martin, Collings
Whatever his secret gift, like Charlie creator of the Parsons-White stringbender, Guitars and the Santa Cruz Guitar Company
Christian, Wes Montgomery, Robert John- echoes through the playing of every cat in all manufacture replicas of the trademark
son, Eddie Lang, Duane Allman and Jimi Nashville these days. Even mainstream 1935 D-28 (serial number 58957) with its
Hendrix, Clarence White died long before rock guitarists like Jimmy Page, Jerry enlarged soundhole and elongated, bound

4 Flatpicking Guitar Magazine July/August 1998

and markerless fingerboard, and leopard Living in rural Maine, outlets for part, Roland explains, so I showed it to
tortoise pickguard that Clarence owned entertainment were few. Clarence and Clarence and I sort of stumbled through
(but ironically used only infrequently for Rolands father, Eric Sr., was one of 17 it. Then Clarence started humming the
lead guitar). Fender even sells a signature children, so the boys frequently visited melody, so I handed him the guitar and he
model Clarence White Telecaster, modeled with numerous aunts, uncles and cousins. just played it!
after Clarences original 1954 Telecaster Whenever wed get together, theyd want Clarence picked up guitar from many
now owned by Marty Stuart. to hear us play something, so wed do sources, Roland says, and made small
Were also in the midst of a revival three or four songs, then wed go away and breakthroughs, such as seeing the guitarist
of Clarences recordings, including raw do something else, and then come back with Monroes Blue Grass Boys play with
live tapes never intended for public release, later and play some more, Roland recalls a capo, which really opened his eyes to
but which his sheer musical genius justify fondly. Eric White also used to take the what the guitar could do. Continuing the
releasing today. Sierra Records, Vanguard boys to local Grange halls, where they family band theyd had in Maine, Clarence,
and Rounder all have reissued live and could get up and play. Roland and youngest brother Eric Jr.
studio recordings of Clarence playing with The family had an old record player and performed regularly as the Country Boys,
his brilliant bluegrass band, the Kentucky listened to the Grand Ole Opry on radio, appearing on numerous local radio and
Colonels. Guitarists today can hear in CD but never heard anything like bluegrass TV shows and other venues. Banjo player
clarity a teenaged Clarence on-stage at the until they moved to California in August Billy Ray Lathum joined the band in
prestigious Newport Folk Festival sharing 1954. An uncle told Roland about someone 1958, completing their conversion to a
the spotlight with legendary flatpicker Doc named Bill Monroe who he might like, and full-fledged bluegrass band. Late-night
Watson, and thoroughly impressing the the budding young mandolinist ordered a TV junkies will even recall seeing the band
established master on tunes like Farewell 45 rpm record of Monroes classic Pike appear on The Andy Griffith Show.
Blues. Sierra Records is preparing a box County Breakdown and played it at In 1961, Roland started a two-year hitch
set including many previously unreleased home. in the Army, and when he came back, he
tracks of Whites acoustic and electric I remember looking at Clarence and was amazed at the progress his brother had
playing and a video of live performances he had this blank look, which he always did made. Doc Watson had played in California
including his fabled appearance on Bob (laughs), but his jaw just dropped because during that time, and Clarence just went
Baxters Guitar Workshop, a televised guitar these guys were playing so fast. Thats off on that, he says. Clarence also had
show broadcast in Southern California in what got us started, Roland says. Records recorded two early albums, New Sounds of
the early 60s. from Flatt & Scruggs, Reno & Smiley, Bluegrass America, and the groundbreak-
Even today, he stands as an innovator Mac Wiseman and other bluegrass stars ing album New Dimensions in Banjo and
of the first rank, bringing burning speed, soon crowded the Whites record collec- Bluegrass by Eric Weissberg and Marshall
rhythmic pulsation, and harmonic invention tion. One 45 in particular captured young Brickman that included Duelin Banjos.
never before heard on acoustic guitar. Clarences musical attention. Suddenly, Clarence White had become
While theres no question Doc Watson We had one record that Don Reno an extraordinary flatpicking guitarist. One
legitimized the role of lead acoustic guitar played lead guitar on, Country Boy Rock key to that transformation, Roland believes,
in bluegrass and folk music, theres no and Roll, and I sort of figured out the guitar and to the ongoing creative development
doubt that Clarence White set flatpicking
guitar free.
He came into the world on June 7,
1944, the day after D-Day, when a world
war raged seemingly everywhere but in
tiny Lewiston, Maine. His Mom and Dad
both loved music and encouraged all the
White children to play. Clarence perhaps
benefited most from having older brother
Roland, still one of the worlds leading
bluegrass mandolinists with the Nashville
Bluegrass Band, to encourage and help him
along the way.
Photo courtesty of John Delgatto

When he was just four or five, he could

chord the guitar, but he couldnt strum it
(at the same time), Roland told Flatpick-
ing Guitar Magazine in a recent interview.
So hed sit on the left side and make the
chords and Id sit on the right and strum
and wed sing something. Just very simple
stuff. Then wed do vice-versa and hed
get on his knees on the sofa and strum the
chords while I fretted. It was a great way
Joann, Roland, Eric Jr., and Clarence White play on the
to get started.
Riverside Rancho TV program (mid-1950s)
Flatpicking Guitar Magazine July/August 1998
lish transcriptions of his remarkable solos.
Clarence ... introduced much greater rhyth-
mic and melodic flexibility to the guitar. He
discovered musical effects that fit the guitar
like a glove, and with them added a new
dimension to bluegrass without sacrificing
any of its strength or drive, he writes in his
introduction to the out-of-print Clarence
White - Guitar book on Oak Publications.
Every serious student of Whites playing
will benefit enormously from the material
in this rare book.
The people who played with him,
Photo courtesty of John Delgatto

naturally, have the greatest insight. Richard

Greene, fiddler with Muleskinner, told
Guitar Player in a 1992 interview that,
Clarence had these key notes - I call them
major events - that would be medium-loud
and the rest would be kind of quiet. And
you didnt hear any pick noise. He kept the
overall dynamic range in the lower levels,
but within that there was great variation. I
A promotional photo of the Kentucky Colonels, dont recall hearing too many people play
minus Roland, taken in the early 1960s that way, except classical players like Julian
Bream. Of course, Clarence didnt know
Clarences playing exhibited right up to his the signature arpeggios and bends of the about that, but he intuitively understood the
tragic death at the hands of a drunken driver Gypsy guitar sound. Everything he heard dynamics of classical music. His playing
while loading equipment after a gig, was became fodder for his own musical inven- was so clean, and he was able to play very
his ability to absorb, understand and then tion. Just check out his second solo on fast because he wasnt playing hard. If
utilize ideas from other players in his own Alabama Jubilee on the newly released you play hard, it takes more energy per
style, both as a lead soloist and as rhythm Livin In The Past CD on Sierra Records to note. So he would save it. He was great at
guitarist. hear Djangos powerful influence as Clar- controlling his speed and not rushing it.
An avid listener, Clarence explored ence combines right-hand tremolo and a The use of the capo, Greene adds,
other kinds of music, especially guitar- signature ascending diminished lick into gave White the freedom to incorporate as
related music. Joe Maphis, a Southern Cali- a revolutionary flatpicking guitar sound. many ringing open notes as possible in his
fornia musicians whose rapid-fire electric Everything he heard, it seemed, was pro- playing, which helped create that classic
leads made him one of the early pioneers cessed and reintroduced into his blossoming tone and signature sound.
of electric country guitar, influenced Clar- musical vision, a trait Roland see as a key David Grisman in the same article
ence early on, as did bluegrass players like element of his genius. says flatly, I dont think any bluegrass
George Shuffler of the Stanley Brothers. He I got onto Bill Monroe, and that was guitarist had as precise a sense of timing.
absorbed the cross-picking style created by all I listened to, which is the wrong thing Clarence had that unique way of twisting
mandolinist Jesse McReynolds and turned it to do, Roland says today. Clarence never things around. He was into screwing with
into a magnificent technique for extending did that. He applied everything he heard time, but in a very accurate way so you
the expressiveness of the guitar and expand- and knew and understood to his playing knew what he meant. Whites ability to
ing the use of wide intervals in guitar solos. right away. play off the beat is certainly his most
Eventually, he would bring into play his Trying to explain on paper the memorable trait as a guitarist. Roland
second and third finger to add even more distinguishing components of Clarence recalls how his brother would often create
notes in a banjo-like roll. Clarence fell under Whites guitar playing is, to quote Frank a dramatic pause in his playing, both
the spell of Earl Scruggs powerhouse banjo Zappa, Like dancing about architecture. during a solo and in his backup, only to
playing, and also learned much from his Words just dont do it justice. Even using unexpectedly reemerge to reenergize the
fingerstyle guitar work on Flatt & Scruggs notation and tab, capturing that slippery, song with just the right phrase or chord at
gospel numbers. The Dobro player in that elusive syncopation and his unexpected an unanticipated moment.
band, Josh Graves, also influenced Whites phrasing emphasis cant really be done. Listen to Tony Rice, who grew up hear-
frequent use of slides and glissando tech- Its one reason why you hear so few people ing Clarence play in California, describe
niques, profoundly altering previous con- mimicking Whites style today, compared his mentors style in a 1986 interview from
cepts of what was possible on flatpicked to other contemporary flatpickers whove Frets magazine. The essentials of guitar,
guitar. spawned legions of imitators. as I play it, came from him. All of my
In the late 60s, the Whites discovered Russ Barenberg was probably the first left-hand technique I learned directly from
the music of Charlie Christian and Django guitarist to systematically study Clarence Clarence, too - real efficiency of movement.
Reinhardt, and Clarence avidly pursued Whites flatpicking guitar style and pub- Did you ever notice that about Clarences
6 Flatpicking Guitar Magazine July/August 1998
playing? It sounded like he was squeezing toiseshell picks, to the point that as a desire to perform together again never
the notes out, rather than impulsively firing joke his friends once gave him a giant faded. By 1972, Clarence came to Roland
them off. tortoiseshell pick over eight inches wide! and said the Byrds were breaking up and
Rice also cites Clarences rhythm With his economical right-hand motion, he that he wanted to play acoustic guitar again.
playing as a key influence. He used the was able to use the rigid pick to produce Roland left Flatt to reunite with his brother
guitar in a bluegrass band as something an enormously dynamic string attack rang- for a tour of Europe as the White Brothers.
beyond just strumming three chords to ing from booming bass notes to delicate The results of that trip were captured on
accompany a vocal. Indeed, close listening tremolo and double-stop passages. vinyl by Rounder Records on The White
to his backup work on the Long Journey With his enormous talent flourishing Brothers - Live In Sweden in 1973.
Home CD of the Colonels performance at and big brother Roland out of the service, With the Byrds, Clarence had been
Newport reveals an incredibly advanced the Country Boys, now performing as the playing electric guitar almost exclusively,
and sophisticated approach to rhythm and legendary Kentucky Colonels, started except for a brief acoustic set. But despite
backup guitar. From Reinhardts playing, playing again and embarked on an East having spent the last four or five years
White had incorporated the use of 6th and Coast tour that included a stop at the concentrating on electric, Clarence picked
9th chords and frequently added intricate Newport Folk Festival and gigs at many of up the challenge of playing bluegrass guitar
passing chords, all dramatically syn- the prestigious folk music clubs in Boston again with a passion. Once again, his cha-
copated for maximum impact on the and other cities. An album was the next meleon-like ability to merge influences
bands rhythmic pulse. Behind brother step, but the producer didnt have the brought a world of new electric licks into
Rolands mandolin, he frequently inserted budget for a full recording session. The his acoustic flatpicking style.
complimentary backup licks gleaned from result was an accidental classic. I hear (the difference) a lot on the Sweden
Scruggs banjo playing and other sources, The only reason we got to do the album. It was very, very different. I can
creating a powerful, sophisticated ensemble Appalachian Swing album was because we hear it, but I really cant describe it, Roland
sound far beyond anything previous heard didnt have the budget to do any singing, says. He had matured a lot.
in bluegrass. and we figured wed cut the budget in Another huge milestone occurred
Despite his blazing speed and utter half by just doing things instrumentally, with Clarences recording of the timeless
command of the guitars fretboard, Clar- Roland explains, marveling at how this Muleskinner - A Potpourri of Bluegrass
ence always chose his notes economically. now-classic album almost never happened. Jam album with Bill Keith, Peter Rowan,
He listened to the great blues guitarists, And so the band did instrumental versions Richard Greene and David Grisman. Blaz-
studying how they would precisely place of tunes like Soldiers Joy, Prisoners ing through country rock to embryonic
one perfect note to accent a vocal and Song, Nine-Pound Hammer and other Dawg music on Opus 57 to killer flat-
transferred that melodic economy into his tunes theyd normally have sung, and picking onSoldiers Joy, the Muleskinner
bluegrass playing. Perhaps Clarences created a stunning testimony to Clarence album set the stage for all future progressive
former Byrds bandmate Gene Parsons said Whites skill and musical imagination as bluegrass and New Acoustic styles. Both
it best: Clarences one guideline was to he and Roland played through chorus after albums give some insight into the direction
play the least amount of notes with the chorus, often jamming for 10 or 15 minutes Clarences playing might have taken had
most amount of impact. and then having the recording engineer cut he lived.
His guitars and setup also played a key and splice the best solos together into a I often wonder what he would be doing
role in his trademark sound. Although the cohesive recording. If only those original now, but I cant answer that question,
1935 D-28, which was modified by luthier tapes were available today so we could hear Roland says now. I think he would be
Roy Noble in the 1960s, is most closely the unedited performances! doing mostly electric, because that was
associated with Clarence, he used that The band was at its peak musically always where all the money was. You gotta
guitar mostly for rhythm work, preferring then, but sadly the folk boom of the 1960s eat. Im curious where he would have taken
his D-18 for almost all his early lead was wilting and no one ever offered them his style on electric, which was already
recording. That guitar was stolen in the late another record contract. There just wasnt pretty phenomenal. But Im also thinking
60s, and he eventually acquired a custom any work, Roland says sadly. We started he would have been doing as much acoustic
Noble dreadnought and then a rosewood playing in lounges with drums and electric playing as he could.
dreadnought from Mark Whitebook, who bass and electric rhythm guitar. We just
apprenticed with Noble. Roland says after couldnt do anything. Rockabilly guitar Flatpicking Guitar would like to thank
playing so much electric guitar, Clarence pioneer James Burton had heard Clarence David Grier for conducting the interview
played a Whitebook one day and was play and began turning him on to the ses- with Roland White used for this article.
immediately struck by the thin neck and sion gigs he couldnt take, an opportunity
fast action. His response was so positive, Clarence seized upon to learn more about
he purchased a Whitebook, which Roland electric guitar. Eventually, as lead guitarist
still owns. (Although to the best of our with the Byrds, Clarence set a standard
knowledge Whitebook no longer builds, it for innovative playing that matched his
is possible to purchase a new Noble guitar. reputation on acoustic.
Contact Roy Noble, 8140 East Ave. U, The Colonels all pursued separate careers,
Little Rock, CA 93543, 805-944-5548.) with Roland playing guitar for Bill Monroe
Clarence preferred heavy, inflexible tor- and joining Lester Flatts band. But their

Flatpicking Guitar Magazine July/August 1998
written by Earl Scruggs
Randy Lynn Rag arranged by Clarence White
transcribed by Joe Carr

# 4 j

. j

& 4 j .
n . J


. J2 .
H S 0
3 3 3 3 3 0 0 1 1 1

J .
0 2 4 4 4 4 0 2 0 0 0
0 2 3
# j j j


1 3 1 1 1 1 0 0 H S 0 3 S

2 2 2 0 0 0 0 0 2 4 4 2 4
4 4 5 5 0 2
0 2 4 2

# j
11 C D

& J J n J J

0 0 0 1 1 1 1 1 1 1 3 1 1

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

16 G C G

& n . n

3 3
S 0 3 3
0 0 0 0 0 2 0 0 2 4 4 5
3 5 5 2 2 0 2 0 2 3 2
3 2 3


21 D

& # n # n n

S 0 2 3 2 0 0 0 2 3 5 3 0
3 5 3 0 3 3 0 3 0
4 2 0 0 2 3 2 0 3 2 0
2 0 2 4 3 0

8 Flatpicking Guitar Magazine July/August 1998

Randy Lynn Rag (cont)


j j



3 3 S
3 3 3 5 3 0 3 0

0 2 0 0 2 0 0 2 4 4 5 4 2 0 0 2
0 2
2 2 0 2 2 0 2 4

Break II


# n


S 0 S H S
0 0 S
1 0 3 0 3 3 3 0 0
2 0 2 4 3 2 0 0 0 2 4 4 4 4 2 0 2
4 2 5 0 2



n j . n j

1 1
1 1 . 1 3 1
2 2
0 S 0 0
3 2 2 5 5
4 4 0 2 3

# j .

41 G


H S 0 S 3 0
3 0 0 0 0 1 1 1 1 1 1

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

# j j . j j
46 G

& . J J J # n

J .

J J5
1 3 1 1 1 1 0 0

. J
2 2 2 4 0 0 0 0 0 0 0 0

4 4 0 5 5 1 0 0 2

Flatpicking Guitar Magazine July/August 1998
Randy Lynn Rag (cont)



H S S 0 2 3 2 0 0 2
1 3 5 3 0 3 0 3

0 0 2 4 4 2 0 0 2
0 2 0 2 0 2 4

# #

& # n
3 5 3 0 0 6 7 3 3 3 5 3 0 0 0 0 3 3
3 5 5 4 4 0 0 3 3 3 3

3 2 0 0 0 0 4 4 4 4 5


61 D

# n

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

Randy Lynn Rag Transcribers Notes by Clarence White and the Kentucky Colonels The A section repeats at measure 10. The
Joe Carr: Twenty years ago there were many is from this tape. (Ron Blocks great self- dot over the D note indicates a very short or
bootleg cassette tapes of the Kentucky Colonels produced tab book on traditional bluegrass guitar stacatto attack to the note. The B section
circulating amoung bluegrass music fans and includes transcriptions of three breaks from this begins at measure 18 with a C lick similar to
musicians. These tapes were copies of copies recording.) Perhaps the entire recording will be a phrase in Black Mountain Rag. In measure
and I spent many hours listening through the made available to the general public sometime 20, use the second finger to slide to the fourth
poor quality for the great music. Many of these in the near future. fret of the third string. This will put you in the
recordings were later released on albums by Randy Lynn Rag is a great Earl Scruggs little F shape at the third fret until measure 21
Rounder and others. Roland White had many of banjo instrumental which Clarence plays on when you slide back to the first position with
the original tapes which he gave to Rounder so this tape. Because the melodies of banjo the same finger. Measures 22-23 contain a
that they might begin cataloging and releasing instrumentals are expressed in rolls, these great D lick.
live albums of this great band. On these tapes, melodies can be problematic for flatpickers. The second solo begins at measure 34 with
I first heard Clarence White play his killer Clarence faithfully states the A section melody a similar but varied approach. The second B
arrangements of Beaumont Rag, Alabama in his unique guitaristic way and plays a series begins with a first fret pull-off a very popular
Jubilee, The Sheik of Araby and others. I of licks over the B section stop chords. technique in modern flatpicking, but new when
was hooked. Measures 2-3 contain a crosspicking type this was recorded.
One of these tapes features Clarence and phrase which approximates the Scruggs banjo Although I have tried to transcribe the notes
a distant rhythm guitarist playing a number of roll. Notice the consecutive D notes at the accurately, the feel of Clarences music is miss-
classic bluegrass songs in his incredible style. end of the second and the beginning of the third ing from this transcription. I have rounded off
His playing is inspired and the arrangements, measure. Clarence repeats notes several times the notes to the nearest eighth note for ease of
which often feature crosspicking, are interesting in this arrangement to keep the eighth note feel reading. Listening to this recording, I got the
and varied. Occasional stutters in Clarences going. Measures 4 and 5 contain the first of feeling that the arrangement was largely impro-
playing remind the listener that these were many rhythmically interesting (and challenging) visedas if Clarence might have said to himself,
informal recordings and Clarences ability to phrases. Play each of these sections slowly until I think Ill play Randy Lynn Rag, and this is
pull out of minor snags without breaking time you can play the rhythm easily. Remember: what came out. Rehearsed or not, this transcrip-
is a testiment to his impressive talent. Bury This is Clarence White playing. No one said it tion gives us insight into one of the best creative
Me Beneath the Willow on the Rounder album was going to be easy! minds flatpick style guitar has seen.
10 Flatpicking Guitar Magazine July/August 1998
Guitar Tab:
I Dont
by Craig Vance
Editors Note: Over the past year and a per measure, are the important factors. You
half Craig Vance has given us some great can find plenty of filler notes in between
practical advice about recording, playing your first and last notes. Cmonits like
in a band, and practicing and critiquing life in generalYoure born, you follow
our solos, however, he has yet to present us the path of least resistance, and then you
with any transcriptions of his own solos. make a killer recording of your least resis-
I thought Craigs articles were great and tance. That is what were dealing with
covered important topics that were not here. Dont command too much concern
being discussed elsewhere in the magazine. for the filler notes; concentrate on where
Craig is a very talented guitar player and youre heading.
readers who have heard him play have let Youll notice the use of several hammer-
me know on numerous occasions that you ons and pull offs and an occasional slide.
would like to see some of Craigs guitar I found them most useful for the break to
solos in the magazine. Ill have to admit create a full sound. Years ago I would rifle
that after spending the past year or so through notes, one right after the other.
listening to The McKrells Better Days CD Then I listened carefully to Norman Blakes
too many times to count, I also wanted tasteful use of pull-offs and hammer-ons
Craig to provide us with transcriptions of throughout his playing. The effectiveness
some of those great solos. He promised is noticeable and using them creates a more
to give us some tab and he came through varied texture. Its not at all how many notes
in this issue with a transcription to I Dont you can cram in there, its how you choose Learn the tunes and
Remember. If you dont have The McKrells to make them fit. Have fun with it!
Better Days CD, do yourself a favor and If you dont, but would like to, own a solos of your choice,
order it. You will not be disappointed. copy of the recorded version of this song, in any format.
send $17 (check only) to:
It came to my attention through the
editor and a few personal sources that some
The Original Custom
The McKrells
tab work from past recordings would be P.O. Box 767 Transcription Service
appreciated. Ive chosen the song I Dont Saratoga Springs, NY 12866-0767
Remember from The McKrells Better All styles and instruments: flat-
Days CD. The cost includes postage and handling. picking, fingerstyle, chord solos,
The entire guitar solo lasts for about 15 That will get you the entire Better Days CD. melody, improvisation; other
seconds. The notes that Ive tabbed out As you listen to the recording and would instruments (horns, woodwinds,
are as close as I could decipher from that wish to see other guitar solos tabbed out, piano, etc.) transcribed for guitar,
ol recording we did. Well, heyimagine please let us know. If you wish to e-mail mandolin, etc. I can also create
my surprise when I sat down to tab it out. me, I can be reached at ; custom arrangements.
Fifteen seconds blows right past, but there 1DRLAZ@SPRINTMAIL.COM Private lessons via U.S. mail.
are about a million notes that a guitar Berklee graduate, professional
player might want to put in there, and yes, recording and performing artist.
didnt I try!! Tab and/or standard notation.
Well, before we get into the different Details and tips on the Web:
concepts of note placement, well go with
the version I recorded. I used somewhere in
the neighborhood of 132 notes during that
15-second slot. That comes out to be nearly John McGann
9 notes a second. It didnt really seem that P.O. Box 688-FM
notey to me. I really only pay serious atten- Jamaica Plain, Ma.. 02130-0006
tion to every 4th note. Basically, the note (617) 325-6853
you start with and the note you end with,
Flatpicking Guitar Magazine July/August 1998
I Dont Remember Written by Kevin MacKrell
Arranged by Craig Vance

As played by Craig Vance on The MacKrells CD Better Days

## 4

& 4


2 5 2 0 2 0 P P
3 3 0 2 3 2 3 2 0 2 3 2 3 0 H P P
2 4 2 0
2 4 2 0 0



S 3 3 5 3 H P P
0 2 4 2 0 2 4 4 4 2 4 2 0 0 2
2 0 0 2 4 4 4 2 4 2 0 0
4 4

G D Bm

# n # n n
S 2 2 4 2 0 2 4
2 0 2 0 0 2 4 0 0 2 4 4
4 0 0 1 2 1 2 0 0 1 2 0 0 3 4

## n #


& n #

n #
7 5 0
3 3 3 5 3 6 7 3 0 2 3 0 H
4 4 4 2 0 P
3 4 0 0 H 0
2 2 0 0 2 0
1 2

Tattoo Publishing 1998

12 Flatpicking Guitar Magazine July/August 1998

Gcdgcdgcdgcd Page
by Dan Huckabee
Hows Your Ear?

You know that song Somewhere Over key element in your ear development. Its from one to three), I think of: On Top of
the Rainbow? Sooome---Wheeeere.. kind of the mid point in the octave. From Old Smokey. On top is the first tone of
(over the rainbow). What I want you to do one to four is a perfect fourth, from the major scale, and of is the third tone of
now is stop reading and hum, or sing (in four to eight (also called high one) the major scale. Old is the fifth tone of
your head) the tune to Somewhere Over is a perfect fifth. From one to five is the scale, and Smokey is the eighth (first)
the Rainbow, even if you cant sing as a perfect fifth and from five to the high tone of the scale. This is a great song just to
good as Judy Garland in The Wizard of one, is a perfect fourth. Got a headache get your ear warmed up every time you get
Oz. now? Not to worry. Just think of the your guitar out, for any reason.
Did you know that from Some to major scale divided almost in half. If the This phrase: On top of old smoke,
Where, is an octave? Some people call first half is small, (one to four), then the forms the major triad from bottom to top.
it a perfect octave. OK, remember that old second half will be big (five to high one). If On top (one), of (three), old (five),
song, Take Me Out to the Ball Game? the first half is big (one to five), the second smoke (eight or high one). Man, this is
Stop and take a minute to hum it to yourself. have will be small (six to high one). your key to get in key. (Pun intended.) Hey,
Take---Meeeee. Thats also an octave. Did you know that Ive Been Working wait a minute. Smokey has two different
Some-WhereTake-Meee. They both on the Railroad is the same identical notes in it. Smoke-----y. Thats right!
sound the same. melody as: The Eyes of Texas are Upon I cant slip nothin past you, because you
So we measure music the same way You? Why should a person wanting to have an ear! So what tone of the scale is
we measure the living room. How far is it learn to flatpick care about that? Because y? Right, its the sixth tone of the scale.
from zero (on a ruler), to seven on a to learn to flatpick, you must learn to listen, Were getting a lot of mileage out of this
ruler? Right, seven inches. So the distance and if you can recognize your intervals, silly old song, so lets keep this tune in our
from one musical note to the next is called you can identify things you hear. If you pocket wherever we go along with our
an interval. Who cares what its called? can identify things you hear, you can play comb, pocket knife, and guitar pick.
Not me, and you dont need to care either, like Doc Watson and Tony Rice. So thats all the notes of the major scale
but you do need to be able to hear, if you My favorite song to associate a perfect except for seven. For this interval, I think
want to learn play your guitar. fifth is The Alphabet Song. Remember of Somewhere Over the Rainbow again.
So whats the best way to develop your that one? A B C D E F G H I J K inom- Its the O in Over thats the seventh
hearing? Right. Learn a song that you can enopee. A B (are the first tone of the tone of the scale, so from Some to O,
associate with each interval. Oh, Ive been scale), and C D are the fifth tone of is known as a major seventh.
working on the Railroad, all the live long the scale. Sing The Alphabet Song to Thats it folks. You now have a silly
day . This is the perfect song to associate yourself now, and youll see what I mean. song to help you identify every intervals
with the interval known as The Perfect Listen to your voice go up from the pitch distance in the major scale. You have gradu-
Fourth. From Oh to Ive is a perfect you are on when you sing A B to the ated from the first level of interval hearing,
fourth. From Ive to been is a Perfect pitch you are on when you sing C D. You and you need to get real comfortable with
Fourth (but going down in pitch rather want to be able to recognize that distance. these intervals, before you move on to any
than up in pitch). Your voice is looser when you sing A B more advanced intervals.
Note: Whether your measuring from because the notes are lower. Your voice Ill admit that its a little hard to grasp just
up to down, or down to up, its how far is tighter on C D, to make the note from reading, and thats why we created the
apart they are that you need to be able to higher. video called Understanding the Formula of
recognize. To remember a major second, I think Music Makes it So Easy. The segment on
OK, from been to work, is a Perfect of the song: Are You Sleeping, Are You intervals is only five minutes of the entire
Fourth (going up). From work to ing Sleeping, Brother John. From Are to two hour and five minute program. Give us
is a Perfect Fourth. From ing to on You is a whole step which is called a a call at 800-543-6125 if youre interested
is a Perfect Fourth. This song is great, major second. Its like the sound from in the rest of musical enlightenment. It will
cause its got a whole bunch of Perfect the first tone of the major scale, to the be the best investment of your musical life,
Fourths all in a row. Being able to hear second tone of the major scale. and all you gotta do is sit and watch TV. I
and identify this intervals distance is a real To remember a major third (the distance guarantee it!
Flatpicking Guitar Magazine July/August 1998
Flatpick Profile WWII, Tut purchased a laptop steel guitar
and amp from a schoolmate who had been
drafted into the service. Tut is a totally
Tut Taylor: self-taught musician. In his reflections of
his initial learning period he said, There

The Flatpicking Dobro Man were no books or tapes back then, you just
had to learn on your own. There wasnt
anyone to show me how to do it, so I just
started playing with a flatpick. Thus was
the birth of Tuts unique style.
In isolation from other dobro players, Tut
developed his own sound. When I found
out the other players were fingerpicking I
didnt want to start all over so I just kept
on flatpickin. Through this decision he
carved out his niche in bluegrass history.
Tut continued playing locally, using the
laptop steel guitar part of the time and the
mandolin mostly for square dances. A lot
of the homes in the area were up on stilts
and when people would have square dances
in their homes, theyd get to dancing and
the house would actually sway back and
forth. It was a sight to see.
It was during this time that Tut solidified
his style. He received his first dobro from
Buck Graves, and after that started collect-
ing. During this period Tut had collected
By Van Hunter numerous dobros and by the early sixties,
his collection had reached a total of 67.
I could not have any peace at home in
Editors Note: Some readers may wonder creating a perfect setting for talking with the evening without people calling about
why we are highlighting a dobro player in this musical icon. Tut had just finished a dobros.
this magazine. Well, if you know anything dobro set with Mike Auldridge and he was During the early 60s Tut flew out to
about Tut Taylors dobro style, you know now honoring us with an interview. California at the request of World Pacific
that be virtue of the fact that he is one Robert Tut Taylor was born on to record an album called 12 Stringed
of the only, if not the only, dobro players November 20, 1923 near a small com- Dobro with Bill Keith, Glenn Campbell
who plays that instrument with a flatpick, munity called Possum Trot, Georgia. When and Chris Hillman. He also did a recording
he is somewhat a kin to our group. Tuts Tut speaks he telegraphs his origins by in California with Roland and Clarence
presence on the Flatpick-L internet group virtue of his accent and down home whit White called, Dobro Country.
and at Steve Kaufmans flatpicking camp and humor. It is truly a pleasure to converse The Kentucky Colonels where playing
also help to give him honorary status with him. And as we learned in the interview around the area at the time and Tut spent a
among us flatpicking guitarists. However, he is a virtual wellspring of bluegrass lot of his spare time going to their shows.
Tuts status among us is elevated even history and lore. Between sets Id get Clarence back stage
higher given the fact that he is probably one Tut grew up in a musical family. His to play into a mic and Id record just
of the only pickers to have recorded with mother played the violin and his father the him playing the guitar. During this Cali-
three of our flatpicking heroes: Norman banjo. Following his brothers, who played fornia trip, Tut also hired Clarence to
Blake, Doc Watson, and Clarence White. guitar and mandolin, Tut, at the age of 12, play back-up on some dobro tunes. Tut
His recordings where made back in the decided he wanted to play the mandolin. went to Clarences home and set up two
early days of flatpicking and these archives At the time he was listening to black string microphones. He played lead dobro in one
form a great historical reference in the band music at a local dance hall. It was this mic and Clarence played rhythm into the
development of the flatpicking style of experience, plus listening to country music other mic. Tut says, Unfortunately I
guitar playing. on the radio, that inspired him to venture only gave him a chance to play lead on one
down his musical path. tune for those recordings. (Joe Carr has
The trees whispered a soft hymn of mid- After Tut learned a few tunes and felt transcribed Clarences back up work from
afternoon as we walked with Tut Taylor comfortable with the mandolin, he was this session on the tune Hawaii Sunset in
towards the camper. The sound of an old joined by a friend on the guitar and together this issue-see page 18.)
time banjo tune rang from the main stage they started playing at square dances and While he was in California, Tut also
at the Merle Watson Memorial Festival, other musical events. At the beginning of met Doc Watson and did some private

14 Flatpicking Guitar Magazine July/August 1998

recordings with him as well. Later Tut met about a year or two. After he sold his inter-
Doc at his home and the two recorded some est in that company to Randy Wood, Tut
additional material together. Tut still has bought the Grammar guitar company at an
all of the recordings he made in the early auction. Tut sold off parts of the Grammar
1960s of him playing with both Doc and company, keeping enough machinery and
Clarence. This material has yet to be fixtures to start his own instrument building
released to the public. company with his son, Mark (one of eight
Tut moved to Nashville in 1970 and of Tuts children), and Bob Givens. The
opened a music and instrument repair shop company, called Tut Taylor Music, built
with George Gruhn and Randy Wood. We guitars, banjos, mandolins and resophon-
called it GTR which stood for George, Tut ics under the Tennessee brand name.
and Randy and was also short for guitar. Tuts son, Mark, went on to form Craft-
George and I put up about five hundred ers of Tennessee and built mandolins under
dollars each and Randy worked in the that name. Later he formed another com-
back fixing instruments. We didnt make pany with Greg Rich and built instruments
much money at first. We had two pre-war under the Rich & Taylor name. He is cur-
herringbones hanging out front; one for rently back building instruments under the
$600 and the other for $550. They hung Crafters of Tennessee name and building
there for weeks before anyone bought banjos under the Tennessee brand name
them. We did a lot of pickin there. It was once again.
a fun place to be and it was the only place Tut Taylor has several recordings to his
to come and pick. Right behind us was the credit, including the Grammy Award win-
Grand Ol Opry and wed go around back ning, The Great Dobro Sessions, which
there and meet other players. One time I also won IBMAs bluegrass album of the
went back and there was Norman, who was year. His latest release Flash Flood, which
playing on a show with Johnny Cash. includes Beppe Gambetta, is now available
Through this exposure, Tut met and through his website. As a matter of fact all
played with many of the greats. It was his recordings are available online at http:
these contacts that led to one of his first // This is a great
professional recording experiences. I was place to learn more about Tut and to contact
backstage and Porter Wagoner came back him personally through email. Tut is also a
and asked Josh Graves if he wanted to subscriber to Flatpick-L and Bluegrass-L . A Workshop On
record on his next album, Bluegrass Story. Of great interest to flatpickers are the
Josh said, I cant because the boys will not
let me, but this guy right here can help you
recorded archives Tut has collected over
the years and his stated goal to make these IMPROVISATION
out. And he pointed to me. musical treasures available to us in the form
The jam sessions that occurred back of compact discs. The first of these efforts for: Bluegrass Guitar
stage at the Opry would typically carry is available now and is known as Flatpick-
over to jams at private homes and parties. ing in the Kitchen (See FGM Vol. 1, No. 5
One such jam led to the formation of John for a review). As most of us know, this is a
Hartfords Areo-plain band. Tut explains collection of recordings made over several
that he was among a group of pickers years by Tut and Norman Blake along with
that had been invited to a jamming party. other notable players such as John Hartford,
At one point the jam included Tut, John Vassar Clements, and Sam Bush (playing
Hartford, Norman Blake and Vassar Cle- bass). The next two releases remain some-
ments. Someone in the room said, You what of a mystery, and the details are being 14 techniques
guys sound great, you ought to form a worked out as this article is being written. 39 tunes, 70 breaks
band. No one thought much about it at One can only wonder, while gazing at the
the time, but they obviously thought it was cover of this magazine, and pondering the Highly Recommended
a good idea because the band was formed, possibility of what if says Acoustic Musician
stayed together and toured for about a Magazine
year, and recorded the popular Aero-plain (August, 1996)
Tut sold his interest in GTR to George and Cost: $17.95
in conjunction with Randy Wood and Grant (postage paid)
Boatright, opened up The Old Time Pickin Write to:
Parlor. Looking back, Tut says, George Keith Feedman
became rich and I was still Tut. Tut was 51111 S. Twin Buttes
involved in The Old Time Pickin Parlor for Salome, AZ 85348

Flatpicking Guitar Magazine July/August 1998

Flatpick Rhythm Guitar

0 1 2
0 2 0
by Joe Carr
Clarence White Style Rhythm Guitar

Okay, Ill admit it. Clarence White let the pick hit other strings on the upstroke There are several nifty moves in the
is probably my all time favorite acoustic as long as you hold a full chord with the left transcription. The second half of measure
guitarist. So this column was an excellent hand. For maximum benefit however, play 5 is a great way to move to G from C.
excuse for me to delve in to the subtleties the exercises as acurately as possible. this Watch the timing in measure 7. This is an
of this great artists rhythm style. Since will help you develop good pick control. example of Clarences subtle use of time.
many of Clarences recorded performances Alan Munde remembers that Clarence Measure seven counts like: ONE AND two
suffer from poor recording situations and sometimes used the nail side of his right AND three AND four AND. (Pick notes on
muddy mixes, I was thrilled to get a copy of hand middle finger for the downstrum por- the capitalized words.) Watch the triplets
several songs from Tut Taylor which feature tion of this pattern. This is confirmed by a in measures 20 and 28. Measures 22-23
Clarence on rhythm guitar. Through the videotape of Clarences playing. This full are a nice move from G to C. Count and
help of FGMs Dan Miller, Tut provided sounding rhythm style is very effective in practice it carefully at slow tempos until it
a tape with Clarences guitar mixed very medium-to-slow tunes and is especially makes sense.
loud a tape only a guitar player could useful when the guitar plays solo to accom- The next Clarence White style rhythm
love! pany a singer or in small groups. segment I have provided is to Sally
Hawaii Sunset is a medium slow dobro Once you are comfortable with the Goodin. The Sally Goodin rhythm lick
tune in the key of C. Clarences rolling exercises, move on to the song. You may has a great syncopated bass run that replaces
arpeggiated rhythm strum is the perfect never play Hawaii Sunset, but I bet you the D chord when this tune is played with
compliment for Tuts flatpicked dobro and know lots of tunes in C that have F and G7 two chords. Capo at the second fret to play
it is an important rhythm technique for chords in them. This rhythm transcription in the traditional fiddle key -A.
acoustic guitarists. is the second time through the song on the As a final treat, I have closed with one
Before tackling the tune, try the exercises recording. Begin with an upstroke. The of my favorite White licks. I believe I stole
shown below. Notice that the upstroke on strums are approximate, so feel free to this from Clarences Alabama Jubilee,
the and beats (upbeats) can be a little strum more or less strings on the strum which I recorded as Alajuba Bamalee
sloppy if you like. By this I mean you can part of the rhythm. on my Otter Nonsense album back in the
early eighties.

Rhythm Exercises:




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

= downstroke = upstroke

16 Flatpicking Guitar Magazine July/August 1998

Clarence White Rhythm Guitar break to Hawaii Sunset



&4 j

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

2 3 2 3 3 3

G7 C


& j

1 1 1 1 0 0 0 0
0 0 0 0 0 0 1 1 1 1 1 1

0 0 0 0 0 0 2 0 0 0 0 0 0 0 0 0 0 0 0
0 0 0 0 0 0 3 2 2 2
3 2 3 0 2 3 3

3 3 3 3 3

C7 F C G (C)


# n

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

C C7 F C

0 0 0 1 1 1 1 1 1 1 0 0 0 0
1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1
0 0 0 3 3 2 2 2 2 2 2 2 0 0 0 0 0 H
2 2 2 2 2 0 2 3 2 3 3 3 2
3 2 3 3 3 02
3 2 3


21 G7 C 3



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

Flatpicking Guitar Magazine July/August 1998
Hawaii Sunset (cont)






# #
1 1 1 1 1 1 0 0
1 1 1 1 1 1 1 1 1
2 2 2 2 2 2 0 0 0 0
3 2 3 H 0 1 2
3 3 0 3 0 2 3
2 3 3 2


G7 C C6


1 1 1 1 0 0 0
0 0 0 0 0 0 0 0 0 1 1 1 1

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

Clarence White Style Rhythm Guitar break to Sally Goodin

# 4 .

& 4 . j ..

.. 3
3 3
3 3
0 0
3 3 3
3 3 3
0 0 0
3 3
3 3
0 0
0 0 0 0 0 0 0 0 0 0 2 0 0

J3 J
2 3 2 0 2
3 3 3

One of Joe Carrs Favorite Clarence White Licks:

j n n
& 4 . ..

.. 2 ..
5 3 0 5 3 0
0 2 2 0 0 2 2 0

1 2

18 Flatpicking Guitar Magazine July/August 1998

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Flatpicking Guitar Magazine presents

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Featuring 23 of todays best bluegrass guitarists:

Peter McLaughlin Chris Jones Dix Bruce and Jim Nunally
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Joe Carr Steve Kaufman Steve Pottier and Sandy Rothman
John McGann George Shuffler Mike Whitehead Gary Cook

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Flatpicking Guitar Magazine July/August 1998
We have a Flatpicking Guitar Magazine Part 2 (1980 - Present) New Models
logo on our vans spare tire cover. A few By Dan Miller The ground work that would lead Martin
days ago I parked at a local store and a to its eventual recovery began with the issue
stranger walked up and asked me if I played of the Vintage Series in 1982, followed
guitar. When I said that I did, he asked, Do by the Guitar of the Month program in
you play a Martin? Even though I have 1984, and the production of the J models
owned, and still own, many fine guitars that in 1985. However, things did not really start
are not Martins, I do own and play a Martin to take off until after Chris took the helm in
and so I answered, Yes. As I responded 1986. Chris felt like the company needed to
to the mans question, I noticed that I felt a focus on what they did bestbuilding flat-
certain sense of pride in being able to tell top acoustic guitars. This new focus, along
this man that I played a Martin guitar. When with an upswing in the guitar market, helped
I answered the question, the stranger nodded turn Martin around. Within ten years the
his approval, as if to say, You play acoustic company went from producing 7,000 guitars
guitar, of course you play a Martin! in 1986 to over 22,000 in 1996.
If you own a Martin guitar, you prob- Although the Vintage Series and
ably know the feeling. There is something Guitar of the Month programs continued
special about owning a Martin guitar. The to be successful for Martin after Chris
feeling is so special that many players own became CEO, two other programs, at
several Martinsand yes, there are some opposite ends of the price spectrum, have
who literally own dozens of them. There are also done well. The first was the over-45
just so many great Martin guitars to choose or ultra-fancy guitars. These guitars have
from these days! been limited run D-45 style guitars which
Today the Martin guitar company is include special features not available on
selling so many guitars that they have had the standard D-45. The over-45s continue to
to expand their Nazareth, Pennsylvania fac- sell well, and one of these D-45 limited edi-
tory in order to keep up with the demand. tions, the Gene Autry model introduced in
However, sixteen years ago the company 1994, launched Martins popular Signature
was on the verge of bankruptcy. A lull in the Model series. This series has featured
acoustic guitar market, a strike, and some limited edition signature models for Eric
mismanagement almost destroyed the 150 Clapton, Marty Stuart, Paul Simon, Johnny
year old family owned business. Cash, Hank Williams, Jimmy Buffett, and
The man who saved the Martin Guitar others.
Company was the man who had steered it While the over -45s and other limited
into its heyday, C.F. Martin III. Although edition models have sold well, Martin has
he had given the presidency to his son, not let the success of these higher price gui-
A prudent businessman would have either
Frank Herbert Martin, in 1971, C.F. III tars divert their attention to strictly making
declared bankruptcy or sold the company.
remained CEO until the time of his death high end instruments. Regarding their low
But he wouldnt let the company die.
in 1986. When the company hit its all time end models, Chris Martin said, We wanted
Another wise decision made by C.F. III
low in 1982, C.F. Martin III would not let to be able to produce guitars that the dedi-
shortly before he passed away was to get his
the company die. In the new Martin book cated amateur who had saved some money
grandson C.F. Martin IV, who had already
Martin Guitars: An Illustrated Celebration could afford. We did not just want to build
been working for the company for about
of Americas Premier Guitarmaker, by Jim guitars for doctors and lawyers. The result
7 years, appointed as a vice president and
Washburn and Richard Johnston, Chris was the building of models such as the all
thus pave the way for him to later take the
Martin is quoted as saying, The only solid wood D-16T and D-16TR and the lam-
CEO spot. In 1986, when C.F. Martin III
reason we did not declare bankruptcy was inated DM, D-1, D-2R, and D-3R models
passed away at the age of 92, Chris Martin
my grandfather decided he would allow the (all tops are solid wood, the laminates are
(C.F. Martin IV) stepped in as CEO.
value of his stock to go to zero before we used on the sides of the D-1 and the back and
declared bankruptcy, and it got very close. sides of the DM, D-1R, D-2R and D-3R).

20 Flatpicking Guitar Magazine July/August 1998

As the advertising says, Price is no longer cient to produce the parts prior to
an excuse for not owning a Martin. assembly. We consider the CNC
The D-16 was originally built as a trade machinery very efficient at pro-
show special. It was a less appointed, ducing parts and afterwards we go
semigloss finished, lower priced guitar back to fairly traditional methods
made all in one batch after orders where of hand assembly.
taken at a trade show. Later, after the D-1 In The Martin Guitar Book:
was designed and produced using efficient A Complete History of Martin
modern technology and laminated woods, Guitars, by Walter Carter, Chris
the D-16T (T for technology) was issued Martin states, My feeling about
as a hybrid between the D-1 series and the mechanization is that my family
standard series. The D-16T and D-16TR has utilized mechanization since
are basically solid wood versions of the 1833. Its just that the state of the
D-1 and D-1R. art has changed.
The research and design of the D-1 model, With new technologies also
a spin off of the Shenandoah, enabled Martin came a re-examination of some
to explore modernization of their technol- of the plant operations and pro-
ogy. In building the D-1, Martin was able cedures. One outgrowth of that
to introduce modern building techniques was the implementation of the
which they had been hesitant to try on their 14 day waiting period. After a
standard models. Through this process they new guitar is built, the strings are
were able to learn how to build their guitars put on and the truss rod adjusted,
more efficiently, and thus more affordably, the guitar will typically experi-
without sacrificing design. Additionally, in ence some movement as it adjusts
order to bring down the cost of the D-1, to the string tension. If the guitar
Martin used laminate woods for the sides is sent out of the factory prior to
while keeping solid wood on the top and this movement taking place, it
back (the D-1R has a laminate back). The will usually need some re-adjust-
D-1 also has a low profile, CNC carved, ing. Dick Boak explains, We
mortis and tenon jointed neck and the finish felt that it was critical to have
is semigloss. With the success of the D-1, our guitars go out to the dealers Chris Martin (C.F. Martin IV) has been
Martin later introduce the even lower priced in a state where they were set up CEO since 1986
DMa mahogany guitar that is the same perfectly and they were not going
philosophy with any of these changes is
as the D-1 except the back is laminated, the to move a lot further. We had done some
that it has to do the job better, not just be
rosette is a decal, and the finish is satin. statistical measuring of our guitars which
a time savings. We are not just looking
means that after they were inspected and
for time savings, but if we can reap a time
Technology strung up we would put them on the shelf
savings and at the same time improve the
The introduction of a variety of new low and then bring them down everyday and
consistency and quality of the product, then
end and high end models to the Martin line re-measure them. We would see when the
that is what we are after.
is not the only thing that has helped the com- movement was occurring and how much
Boak sites the method by which
pany get to where it is todaytechnology movement was occurring. We collected a
braces are glued as an example. He says,
has played a big role. While some guitar tremendous amount of statistical analysis
The latex brace gluing fixtures are really
players will cringe at the mention of the of that movement and found that 99% of it
ingenious and sensible. They glue the
word technology in the same breath as happened within 14 days. That is when we
braces more accurately. The glue dries
acoustic guitars, the fact is that the chisel implemented the 14 day waiting period. I
quicker in the vacuum and the pressure
and draw knife are not necessarily the best think it has had a tremendous impact on the
is more even on the brace. It is a better
tools to use in building fine guitars. Dick playability of Martin guitars.
way to do it.
Boak, Martins director of publicity and Boak continues, After the guitar sits in
Boak adds, The D-1 project enabled us
artist relations says, Our use of CNC and the warehouse for 14 days, it comes out to
to really hone in on the exact placement of
CAD/CAM technology is significant. If we the final inspectors where the rod gets final
the braces. We devised a means of gluing
didnt use it, we would probably be out of adjustment and the saddle gets knocked
the braces in exactly the same position
business. What it has done is enabled us to down. They have even gone so far as to
every time. Once we had done that, we
succeed in a competitive market place with- estimate how much saddle knock down is
were able to locate the exact brace positions
out any significant change to our design. A usually required so that they can set the
in the lining and use tiny pneumatic routers
lot of people dont want to hear that Martin neck accordingly so that the saddle height
to notch the lining to accept the braces. That
uses any kind of machine. Well, even prior is where we want it when it is all done. It
technology is pretty significant because to
to the turn of the century Martin was using is extremely effective and the guitars are
do that job manually takes more than a half
some pretty sophisticated machinery driven playing beautifully.
hour. To do it with a router takes about
by steam engines and leather belts and things Regarding changes made to their opera-
a minute. It is a significant savings in
like that. The machinery makes it profi- tions in general, Dick Boak says, Our
Flatpicking Guitar Magazine July/August 1998
time and what that translates to is that the their meaning: trim and a large sound hole. Does it make
customer gets the same, or better, product H - Herringbone trim sense now?
and isnt paying the extra money. R - Rosewood New Martins and Flatpickers
M - Mahogany Almost every professional flatpicking
Martin Designators C - Cutaway guitarist I can think of owns an old Martin
Remember when the only thing you T- Technology (this was used to distinguish guitar. However, because the value of
needed to know about Martin Dreadnought the old D-16 from the newer D-16 and has these old guitars is continually rising (both
designators was D-18 and D-28? Well, recently been dropped as a designator). financial and sentimental), many of them
it is not so easy anymore. However, it is 2R - Double herringbone rosette rings opt not to take the older guitars on the
really not as hard as it looks at first glance. around the sound hole. road. Some are turning to the newer Martin
Once you have a general idea about what V - Vintage models to use as their road instruments and
the letter designators stand for, it begins to LS - Large Sound hole to their surprise, they find that they dont
make sense. Today the Dreadnought styles S - 12 fret body, slotted headstock have to sacrifice tone or playability. Scott
range from the DM model up through the SP - Special. These are special models in Nygaard is one such performer. About a
ranks as follows: D-1, D-2, D-3, D-15, that they feature upgraded appointments year ago Scott bought a brand new D-18V
D-16, D-18, D-28, D-35, D-41, D-42, and from the standard model. to replace his 1956 D-28 on the road. When
D-45. The only thing to remember about The above listed Dreadnought designa- asked about his new Martin, Scott said, I
the numbers is that, in general, the higher tors are the only ones you will find in the happened upon it in a store and couldnt
the number, the fancier the appointments. current Martin catalog. If you see the let it go. I had no problem switching from
(The D-2 and D-3 are laminate back and designator SPDC-16TR, you now know the 56 D-28 to the new D-18. It is easy to
side versions of the D-28 and D-35 respec- that you have a Special Rosewood Cutaway play and has great tone.
tively. The D-15 is a mahogany guitar with D-16 that was built with the new technol- Dix Bruce, who travels with a new Martin
a mahogany top) ogy. The new Martin recreation of the D-1, says, It is a great sounding guitar and
Now for the letters. Here is a run down Clarence White/Tony Rice 1935 D-28 is it is the best value that I know of. I like
of the letters that are being used today and designated HD-28LSV. You now know that it is balanced and very playable. It has
that it is a Vintage D-28 with herringbone a different voice than my D-21, but it is a
very good voice.

Martin Guitars:
An Illustrated History of
Americas Premier Guitar-
by Jim Washburn &
Richard Johnston

To order, send
plus $5.00 Shipping and Handling
High View Publications
P.O. Box 2160
Pulaski, VA 24301
or call
1 (800) 413-8296
to order with Mastercard or Visa

Hardbound, 264 pages,

color photographs

22 Flatpicking Guitar Magazine July/August 1998

Flatpicking Guitar Magazine July/August 1998
Flatpicking &

Open Mind/Open String

Theres nothing quite like the sweet ring- Exercise 3

ing sound of a well-tuned and well-played We have the same deal going onto the Exercise 5
guitar hitting on all its open unfretted and third examplesimply slide a first position Switching over to G, this cross-picked
unfettered strings to remind us of why we E chord up the neck to the 14th fret and descending scale features the G and D strings
were attracted to this instrument in the first play the descending line on the two middle open and a descending two note chord using
place. Other than the obvious guaranteed strings all the way down to the bottom, the fifth (A) and second (B) strings. This is
worldwide fame and fortune, of course. while picking the E and B open. This can a nifty little sequence that can be strummed
Always try to be aware of opportuni- also be fun to cross-pick in various ways. or cross-picked and incorporated into leads
ties to incorporate open, adjacent strings in If it sounds a little familiar, it could be or rhythm parts any number of ways. The
interesting ways on your fingers journey because it bears a striking resemblance classic Paul McCartney song Blackbird is
around the fret board. The keys of G and to the intro for Friend of the Devil based on this type of figure in a finger-picked
E lend themselves particularly well to this which all you Dead-heads will recognize pattern; pluck the top and bottom (B and A
technique as the guitars open strings are immediately. I think they did it in G strings) notes at the same time alternating
conveniently tuned to notes that occur in originally. Which would segue nicely with the open G and D string drones. This
both keys. Here, then, are some examples of into . . . . sequence also works with the chords to
ways to tap into that open string effect. Blackberry Blossom as a variation of the
Exercise 4 melody line.
Exercise 1 . . . . the low open E rock riff. Go squeeze Also, these tab examples are shown just
The first example shows an E minor into some spandex and assume the proper in a downward direction, keep in mind that
descending scale that starts on the high E attitude for this one. they do work in both directions. What a
string. As it goes down through the scale, Bend the fifth and ninth notes a little concept! Dont forget to play back up to
each string that is passed gets strummed as sharp for the right feel. This can be a nice the starting point.
an open string. This creates an interesting progression to jam to if youve got, or can
cascading chord that works its way down find, a willing victim/partner. Just play it Exercise 6
through the strings. You can see the open through as shown in E twice (4 bars), play Next is an alternate version of a descend-
strings appearing on the tab as 0s as you the same sequence of notes one string up in ing G scale. Starting on the D string, 5th fret
work down the scale. Play back through A, go back to E (two bars this time), play with the 4th finger, pick the middle 3 strings
the scale from the bottom; try different it once in B (Ill let you figure out this riff as shown. Let that open G string ring out
variations of notes while keeping the open in B as your homework) and start again. for the nice passing tones in the 1st measure.
strings ringing. Repeat as needed. Since this one is on 3 strings, it works well
Once again, really let those open for any triplet-based rolls or cross-picked
Exercise 2 strings ring out. An interesting rhythmic patterns you may know.
Seeing as how too much mucking about variations is to drop the last beat of the
in minor keys can be depressing, dont dally second measure, changing the half note to Exercise 7
too long before moving on to the happier E a quarter note and the measure from 4/4 to Lastly is the C major open string scale, top
major 3 string scale. The same principle 3/4 giving the whole phrase a 7/8 feel. Its to bottom, using, you guessed it, open strings.
applieswork the open E and B strings into always fun playing in off-kilter or slightly Practice this one with increasing speed and
the scale as you play down the notes. Begin lop-sided rhythms. lots of hammer-ons and pull-offs. Playing it
by strumming the eighth notes as shown in Familiarize yourself with the box up and down a few times is a great finger and
the example, then experiment with your own formed by the 5th and 7th frets on the forearm pre-performance warm-up as well.
crosspicked, more syncopated patterns. Try bottom (EAD) strings. Used with their I hope youll have some fun with these.
different rhythms or incorporating the low corresponding open notes there are myriad Explore and find your own applications for
open E string as an anchoring drone. possibilities available. using open strings. The skys the limit!
Remember - Open strings - open minds!

24 Flatpicking Guitar Magazine July/August 1998

Exercise 1: E minor

# 4 # ## #
Exercise 2: E major

ww ww

& 4
3 2 0 0 0 0 0 0 0 0 4 2 0 0 0 0 0 0 0 0 0 0 0 0
3 1 0 0 0 0 0 0 0 0 4 2 0 0 0 0 0 0 0 0 0
2 0 0 0 0 0 0 0 0 2 1 2 4 6 8 9
4 2 0 0 0 0 2
3 2 0 2
3 2 0

#### 4
Exercise 3: E major descending 4 string scale


& 4 w
0 0 0 0 0 0 0 0 0 0
0 0 0 0 0 0 0 0
13 11 9 8 6 4 2 1 1
14 13 11 9 7 6 4 2

Exercise 4: Low open E string rock riff Exercise 5: G major cross picked descending scale

#### .

& . n n

.. .. 12
5 0 0 0 0 0 0
7 5 10 9 7 5 3 2
0 5 7 0 7 3 0

Exercise 6: G major alternate scale


& w

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

Exercise 7: C major open string scale


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

Flatpicking Guitar Magazine July/August 1998
Kaufmans Corner by
Steve Kaufman

Theme Time

Again we have found another banjo The [B] part is mostly played out of hit the 6th string without stopping. This will
tune to interpret. I have arranged this piece positions. Start off with a C chord and get your right and left hand in sync.
with many cliche banjo licks and rolls. the hold what would look like a two finger Good luck with this one and let
Lets get started. A7 chord one fret high and working it me know how it goes for you. Congratula-
Firstly you have an eighth note directly up to the 5th fret. tions and best wishes to the Millers and
preceding a 1/4 note. This will there for Next is your F position G chord and Flatpicking Guitar Magazine in their new
start with an up swing directly to a down. then while rolling with the right hand switch Virginia home. Were glad to have them
Start the fingerings off on this one just the left hand into a D7 position. Do the closer to us at FLATPIK Central.
as we did the last song Froggy Had A same for the A and D measures. Bye for now,
Breakdown. Watch out for the hammer The next important point is in measure Steve K
ons and pull offs in association with the 32 where you have a 1/16 note pull off to
right hand. Remember that the right hand an eighth. The pull off is your down and the Q- How do you tell one banjo tune from
is your metronome and when you have 6th str. is you up swing. If you have trouble another?
a slurred eighth note (measure 2 and 3)- timing this out you should hit the 1 down A- By the title.
whichever way you hit the first note is and then up on the 6th str. Over and over.
the way youll hit the next one. So every Then hit the down swing - pull off- and then
measure that has a slur-Watch Out!

Theme Time Arranged by Steve Kaufman

Key of G
# 4 #
Tempo- very fast G G G F

& 4 J # b
3 3 3 3 3 3 0
0 1 2 3 3 2 3 3 0 0
3 2 0 0 0 2 2 0 0 2 0
2 0 2 3 2 3 3 2

b #
0 2 3 5
3 3 1 0 0 0 1 3 2 3
2 0 2 0 2 0 0 3 2 0 0 0 2
0 4 2 2 0 0 2

26 Flatpicking Guitar Magazine July/August 1998

Theme Time (cont)

G G F D D7

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

# #
G G7 C C G

& # #

16 n
3 5 6
0 1 3 4 5 5 5 3 3
0 0 2 0 0 0 0 0 0 4 5 6
2 0 2 5 5
3 2 0
3 2 1

# n
# n

# b

7 7 7 5 7 8 9 9 9 10 12 13 14 7 8 9
6 6 5 5 8 8 10 10
7 7 6 7 8 9 9 11


# n


10 8 7 10 8 7 8 7 10 8 7 7 5 0
10 10 8 10 7 8 7 8 10 10 8 6 5 6 8 8 6


# n b
# n
3 0 1 0 P
2 0 0
4 2 0 0 2 0 0 2 0
4 3 2 0 10 0 1 2

Sleeping Bear Productions 1-800-FLATPIK 1998

Flatpicking Guitar Magazine July/August 1998
28 Flatpicking Guitar Magazine July/August 1998
By Brad Davis

"Clarence White" of you - for life! I then took bits will see why. I want to send out a
I remember listening to an and pieces of that song and created special thanks to all that support
album titled "Don't Give Up Your my note/lick vocabulary. What a flatpicking and to keep up the good
Day Job" by Country Gazett (one of great place to start! Below I've work.
my very favorite groups). On that tabbed out "Huckle Berry To order a companion tape for this lesson
particular album Clarence White Hornpipe" as close to Clarences send check or money order to:BDM Publishing
picked a hot solo on "Huckle Berry version as I can remember. It's / Box 890 / Madison, TN. 37116.
Hornpipe." That cut was the spark brilliant, inovative and down right a Brad's instructional material can be ordered
that lit my fire to pick. I worked true part of what flatpicking's really visa/master card on the
and studied and tried to figure it out all about. There are not alot if any world wide web. Also previous back issues (tape and
over and over again, and you know double down ups in this version. article booklet format) are now available for $7.00.
when a one spends that much time Clarence didn't need them and once (Drop us a line and get on our mailing list for info on new
on a song it always becomes a part you roll through the tab slowly you instructional products)

"Huckle Berry Hornpipe" Byron Berline

Key G
Line 1 - part 1a-G G C
1 0 2 3 0 0 3 1 0 0
2 3 0 3 0 3 1 1
3 3 2 0 0 0
4 2 0 2 3
1 + 2 + 3 + 4 + 1 + 2 + 3 + 4 + 1 + 2 + 3 + 4 + 1 + 2 + 3 + 4 +
1 2 2 2 2 1 1 3 1 3 1 1 2 3
Line 2 -C D D D
1 0 2 3 5 1 2
2 0 2 3 3 0 1
3 0 0 2 4
4 2 0 2 0 2 0 2 4
5 3 3
1 + 2 + 3 + 4 + 1 + 2 + 3 + 4 + 1 + 2 + 3 + 4 + 1 + 2 + 3 + 4 +
2 2 3 2 3 1 3 1 3 1 2 1 2 4 1 2 1

Line 3 -G part 1b-G G C

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

Flatpicking Guitar Magazine July/August 1998
Nashville Flattop Cont.(Huckle Berry Hornpipe)
Line 4-C D D D
2 0 3
3 0 0 2 4 5 5 0 2 0 2
4 2 0 2 0 2 0 2 4 3 4 4 4 0 2 4 4
5 3 3
1 + 2 + 3 + 4 + 1 + 2 + 3 + 4 + 1 + 2 + 3 + 4 + 1 + 2 + 3 + 4 +
2 2 3 2 3 1 2 1 2 2 3 1 2 3 1 1 3 1 3 1
Line 5-G part 2a-C G D
1 3 1 0 0
2 3 1 0 1 0 1 2 3 3 1 0
3 0 2 0 0 2 0 2
4 2 0 2 4 4
1 + 2 + 3 + 4 + 1 + 2 + 3 + 4 + 1 + 2 + 3 + 4 + 1 + 2 + 3 + 4 +
3 1 3 1 1 1 2 3 3 1 1 1 1 3 1 3 1

Line 6-G C G D
1 0 1 0 0
2 0 1 3 3 1 0 1 0 1 2 3 3 1 0
3 0 2 2 0 0 2 0 2
4 2 0 2 4 4
1 + 2 + 3 + 4 + 1 + 2 + 3 + 4 + 1 + 2 + 3 + 4 + 1 + 2 + 3 + 4 +
3 1 3 1 1 1 2 3 3 1 1 1 1 3 1 3 1

Line 7-G C G D
1 3 1 0 0
2 3 1 0 1 0 1 2 3 3 1 0
3 0 2 0 0 2 0 2
4 2 0 2 4 4
1 + 2 + 3 + 4 + 1 + 2 + 3 + 4 + 1 + 2 + 3 + 4 + 1 + 2 + 3 + 4 +
3 1 3 1 1 1 2 3 3 1 1 1 1 3 1 3 1

Line 8-G C G D
1 0 1 0
2 0 1 3 3 1 0 1 0 1 3 3
3 0 2 0 0 0 2 0 2
4 2 0 2 4 4
1 + 2 + 3 + 4 + 1 + 2 + 3 + 4 + 1 + 2 + 3 + 4 + 1 + 2 + 3 + 4 +
2 1 3 1 3 1 1 1 3 3 1 1 3 1 3 1

Line 9-G part 3a-G G C

3 0 0 0 2 0 0
4 2 0 0 2 0 2 0 0 2 0 1 2 1 2 1 0 0 1
5 2 0 1 2 1 2 3
6 3
1 + 2 + 3 + 4 + 1 + 2 + 3 + 4 + 1 + 2 + 3 + 4 + 1 + 2 + 3 + 4 +
1 1 2 1 2 2 2 1 2 2 2 1 2 1 2 1 3 1

30 Flatpicking Guitar Magazine July/August 1998

Nashville Flattop Cont.(Huckle Berry Hornpipe)
Line 10-C D D D
2 1
H3 0 2 0 2 0 0 2 4 2 0 3 5 3 0 2 0 0 2 0 2
4 2 2 0 2 4 4 2 0 2 4 4
1 + 2 + 3 + 4 + 1 + 2 + 3 + 4 + 1 + 2 + 3 + 4 + 1 + 2 + 3 + 4 +
2 2 1 2 2 1 3 1 3 1 1 3 1 1 3 1 1 3 1 3 1
Line 11-G G G C
1 1
2 1 3 2 1 1
3 0 3 3 4 0 0 3 2 0 0 0 2 0
4 3 0 3 1 0 0 1 2
5 3
1 + 2 + 3 + 4 + 1 + 2 + 3 + 4 + 1 + 2 + 3 + 4 + 1 + 2 + 3 + 4 +
1 3 1 2 /1 3 1 3 3 3 2 3 1 3 1 2 2

Line 12-C D D D
1 0 2 3 5 1 2 0 2 0 0 2
2 1 1 0 2 3 3 3
3 2 0 2 0 0 0 2 4
4 2 0 2 4
1 + 2 + 3 + 4 + 1 + 2 + 3 + 4 + 1 + 2 + 3 + 4 + 1 + 2 + 3 + 4 +
1 2 1 2 2 1 3 1 3 1 2 1 2 4 1 3 2 3 2

Line 13-G G
1 3 0 0 3
2 3 0 3 0 0
3 3 2 0 0 0
4 2 0 0
5 2
6 3
1 + 2 + 3 + 4 + 1 + 2 + 3 + 4 + 1 + 2 + 3 + 4 + 1 + 2 + 3 + 4 +
3 3 3 3 2 2
About the author: Brad Davis has many years of experience as an acclaimed bluegrass and country guitarist. With several albums to his credit, Brad's most widely heard flattop guitar
work is on the Sweathearts of the Rodeo's new album titled "beautiful lies" on Sugar Hill Records, White Water debute album "N o Gold On The Highway" and Brad's new flattop sampler
album titled "Climbin' Cole Hill" both on Raisin Cain. Brad's most widely heard electric guitar work is on Marty Stuart's gold record " This Ones Gonna Hurt You" and on Marty's most
recent album "Honky Tonkin's What I Do Best." Brad debuted his patented "Brad Bender," the string bender for acoustic/electric guitars, and the unique style it offers, on countless
national television shows with the Sweethearts of the Rodeo - bluegrass band. Brad also spent several years on the road with the Forester Sisters. Touring and recording w/ Marty Stuart
and White Water, songwriting, record production, and the production of instructional material for Z-TAPE (BDM Publishing) instructional courses are wedged into his tight schedule.
Brad's up and coming instructional course is "40 Trick Licks" (for the flattop guitar) and "The Acoustic Speed picking Blue book" featuring his incredible "Double-Down-Up" speed
picking technique.
To order companion audio cassette for this lesson send check or money order for $5.00 and address to:
BDM Publishing - P.O.Box 890 - Madison, Tn 37116 Att:Companion Cassette

Flatpicking Guitar Magazine July/August 1998
Break Time
by Chris Jones
Ron Block On
Clarence White,
Playing Breaks:

Its safe to say that any musician who Bill Napier and Pat Metheny. The result is
spent his or her formative years playing in some very powerful and dynamic improvi-
the west (I started seriously playing the sational bluegrass.
guitar in New Mexico) has felt the pow- I asked Ron about the the best way to
erful influence of Clarence White, even if approach playing a break to a song: The
specific Clarence licks arent heard in his best way is to really know the neck of the
or her breaks. I remember live tapes of The guitar, to have practiced scales and arpeggios
Kentucky Colonels being traded around all over the neck. I am still in that process.
western bluegrass festivals and treasured But the bottom line, especially in blue-
like Willie Mays rookie cards, long before grass, is to play a solo in which the melody
they came out on record. is recognizable, at least in a large part of it.
Im fortunate to live just blocks (bad pun) Improvising breaks has to do with being able
from one of my favorite guitarists and some- to tell the same story as the singer. If a singer
one who got his start in California: Union is singing lonesome and I am trying to play
Stations Ron Block. I decided to pick Rons hot, I destroy the integrity of the song.
DAN DELANCEY brain about Clarence White and about his
approach to what we normally discuss in this
With some exceptions, Ron plays his
breaks with Union Station from an impro-
column, playing breaks to songs. visational approach: I just play the melody
Listening to him
play, it is certainly
When you listen to Ron Blocks work in whatever way feels good, but on some
evident that with Alison Krausss band or his previous songs it is the best thing to play the same
arrangement is band, Weary Hearts, you dont immediately solo every time, especially kickoffs. When
something Dan think, Ahh, hes a Clarence White guy, we are playing on the road constantly I
does very well. His
arrangements are
because you dont hear any of Clarences tend to dig myself into ruts in the solos;
interesting, exciting, signature licks, as you might with other Cali- sometimes I have a hard time breaking out
tasteful and well fornia guitarists from Tony Rice on down. of them. The best cure is to get off the road

Dan Miller, Editor
Flatpicking Guitar Magazine
Clarences presence in modern bluegrass
guitar, however, goes beyond his licks, and
for a while, and I soon forget all the familiar
ground and begin to improvise again. Just a
A FEW FAVORITES Ron certainly cites him as one of his influ- note to those of you in working bands: Ron
Liner Notes ences. He says: I remember listening to does this during the bands down time, he
A Few Favorites by Dan DeLancey
From the first note of The Girl I left Behind Me
his solos and thinking, Wow! That doesnt doesnt simply get off the bus in Indiana and
to the last lick in Clarinet Polka you can tell that sound tiny against the backdrop of the other say: See you guys later, Im kind of in a rut
Dan DeLancey is a powerhouse guitar player. His
playing is up-lifting and soulful. The song selec-
instruments. He was a cannon, not a wimpy right now. That would lead to hard feelings
tion is splendid! Dan is backed by a group of super sound at all. in a working band.
musicians who know how to make a recording
work. A nicely thought out project that will remain
Ron credits Clarence also with a broad list Here is a tab of Rons break on Find
a favorite of mine as I know it will be of yours. The of contributions to flatpicked guitar: Tone, My Way Back To My Heart from Union
only down sideand it was hard to find oneis
that the recording is over too soon for me. It only
timing, taste, melody, syncopation, feeling, Stations So Long So Wrong CD. You wont
means that Ill have to hit re-play all day!! Enjoy improvisation. Not that those things didnt find any overt Clarenceness in it, but it
A Few Favorites as I have. exist in bluegrass before Clarence, just that contains the power and fluidity that rep-
Steve Kaufman 3 Time National Guitar Champion
he really put them all into one huge package. resents some of the best in contemporary
Titles include: The Girl I Left Behind Me, Redwing, Memo-
ries Waltz, Uncle Hermans Hornpipe, The Shelter Of Your All bluegrass guitarists should do a thorough flatpicking. We can all thank Clarence (and
Eyes, Golden Eagle Hornpipe, Pass Me Not, Farther Along,
study of Clarence. Ron) for that.
To order your CD, please send $15 to: Ron combines his appreciation for Clar-
DAN DELANCEY 7911 HUNTER ence Whites approach to the guitar with
RAYTOWN, MO. 64138 816-356-1879 other influences as diverse as Larry Sparks,
32 Flatpicking Guitar Magazine July/August 1998
Find My Way Back To My Heart
Arranged by Ron Block

## 4
D9 G9 C9


& 4
( )

0 H 0 0
7 10 10 8 7
0 7 8
7 7 9 9 9 7 9 9
( 0)

G5 Em

& J
P harmonic . . . . . . H P
8 8 8 7 7 8 8 8 8 7
0 0 9 7 7 0 12 12 12 0 0

7 9 9 12 12 12

A9 D9 A9 C9

& J J J J
P S 0 0 H 0 0 10

7 8 10 8 7 0 8 8 8 8 7
9 7 9 11 11 7 7 9 9 9 9 9 7 9 9 9 0 9 7
9 10

## .
G5 Em A9 D9


j J
J w
H 5 0

8 8 7
5 5 5 3 3
7 0 7 7 6 7 7 2

7 9 9 9 0 0
D(9) G(9) C(9) G(5) Em A(9)
Chord Charts:

Flatpicking Guitar Magazine July/August 1998
Columnist Profile:
John Tindel
When this magazine was only one issue knew of the piano
old the first festival we attended in order to over to the guitar.
present our new publication to the world He spent his high
was the Walnut Valley Festival in Winfield, school years play-
Kansas. Naturally, I was anxious to get ing either piano,
feedback from the festival attendees and guitar, or bass with
so I would occasionally watch the faces a variety of bands.
of the people who came by the booth and When he gradu-
flip through the pages. I was keeping an ated high school
eye on one older gentleman as he looked at (1972), John left
the magazine and I noticed that he stopped Missouri and
on the page that was titled Flatpicking & moved to Fresno,
Folk/Acoustic Rock. The man pointed to California, with
the page and looked up at me. I know that a friend who was
many bluegrass fans are staunch traditional- going to college
ists and I was prepared to here the man say, there. While in Fresno he met a group of much music at all. I got completely involved
What is this rock and roll stuff doing in a musicians and began to play in a pick-up in the life-style of a Kodiak fisherman.
flatpicking magazine?! However, to my band. The band quickly decided that they During his last few years in Alaska,
surprise, the man pointed to the photo of wanted to cut a record and heard that it was John says he started getting urges to play
the columns author, John Tindel, and said, possible to raise a lot of money in a short music again. In 1979 he formed a duo
That is my son. period of time by going to Alaska and work- with a musician in Kodiak named Michael
I later found out that Johns dad is a ing the summer season on salmon boats. Lindsey and made the commitment to get a
mighty fine mandolin player and has been The six budding musicians piled into two repertoire of songs together and play music
bringing the family to Winfield for nearly VW buses and headed north. Unfortunately, for a living. John says, We holed up in
twenty years. Mr. Tindel raised his family due to major vehicle breakdowns and 1500 his cabin in the woods and learned about
in the St. Louis area of Missouri and his son miles of unpaved logging roads between 40 songs, got a PA system and a couple
John began playing the piano at the age of British Columbia and Alaska, it took the of nice Martin guitars and started playing
five or six. John says, My grandparents band two and half months to reach their in Kodiak.
were both active church musicians. My destination. John says, By that time we John describes the duos music as sort
grandmother was an organist at church and were living out of a jar of pennies one guy of a bluegrass/folk/top forty kind of thing.
it was important to her that I learned how had brought along. He says, We did a lot of acoustic type Dan
to play piano early. Unable to get jobs right away, the group Fogelberg, Greatful Dead, Cat Stevens and
John continued with piano lessons through all but missed the salmon season and were the kind of stuff that was popular in the sev-
his early teen years and still plays the piano, unable to raise the money they had hoped enties. About 30 percent of our material was
as well as acoustic and electric guitar, with for. When the salmon season ended, John bluegrass, and we also keyed into the pos-
the Santa Cruz, California based band RST. stayed on and got a job on a king crab boat, sibility of doing old Mowtown tunes with a
When John was thirteen his father brought which led to eight years of work in the com- bluegrass attitude. We kind of got known
home a nylon string guitar from a busi- mercial fishing industry. He says, From for doing that style upbeat versions of old
ness trip to Mexico. John quickly began the age of about 19 through 26 I didnt play Temptations tunes and stuff.
learning chords and transferring what he

34 Flatpicking Guitar Magazine July/August 1998

From Kodiak, John and his partner took like John Hartford, of being able to play Stills, Leo Kotke, and Dan Crary. He said,
their act to the big island of Hawaii in fairly complex mandolin lines and dancing I first saw Dan Crary play at Winfield in
1981 and played there for about a year. at the same time. He got a wireless pickup 1978. I had gone home from Alaska to
John says, It was kind of interesting being and would be clogging and dancing out on visit my parents and we all attended the
a couple of haoles playing bluegrass the dance floor and through the crowd while festival. That was my first exposure to
influenced guitar and mandolin stuff in we were playing Blackberry Blossom or flatpicking fiddle tunes on the guitar. It
Hawaii. There were a couple of taverns Foggy Mountain Breakdown. led me to approaching the guitar more
that catered to expatriate Americans who While he was playing in Key West, from that angle than the standard rock and
lived over there and missed bluegrass and John met two other musicians, Geoffrey roll style.
that kind of stuff. We found little niches Rutledge and Lennox Smith, who were also Johns guitar of choice has always been
where people enjoyed what we were doing. performing as a duo. They became friends a Martin. He says, I got lucky because
But ultimately, as a place to live and play and Geoffrey had, at times, played with my dad was into collecting guitars early on
music full time, the focus, quite rightly, Michael and John as a trio called Beyond and there was always a couple of different
was on the beautiful Hawaiian music that the Reef. In 1992 Len and Geoffrey Martins around the house. I got a taste for
is there. John said that the best thing convinced John to form a trio with them Martins and have continued that. My main
about the Hawaii trip was meeting Mary and move to Santa Cruz, California. guitar has been an early 1970s HD-28.
Rockwell, his wife of seventeen years. The trio is a popular act around the Before that I played a D-28 that I have
After performing their show in the Monterey Bay area of California and have since retired. It got subjected to some
extreme northwestern and extreme south- done quite well at various folk festivals really radical temperature extremes in both
western parts of the country, John and around the country, including the Kerrville Alaska and Key West and also got really
Michael decided to take their act to the festival in Texas. They also spend every scarred up.
extreme southeastern part of the country February back at their old stomping grounds If you are a fan of acoustic guitars, three
and moved to Key West, Florida, in 1983, in Key West where they play at Sloppy part harmonies and great original tunes,
where they got a steady gig at Sloppy Joes Joes and Jimmy Buffetts Margaritaville. check out Johns band RST on the web
(Ernest Hemingways old haunt). John says, The trio plays a lot of great original material (
That was a real instructional time for me as in the Crosby, Stills, and Nash three part RST.html) and order one of their CDs. My
far as learning how to play to a big transient harmony vein and has recorded two CDs. wife and I discovered RST about 3 years
crowd, how to get peoples attention, and When asked about his guitar influences, ago and they quickly became one of our
just basic stagecraft. Michael had the nack, John gives credit to players like Steven favorite bands.

Flatpicking Guitar Magazine July/August 1998
by Orrin Star
The Crawdad Song my trio recorded in early March (and which
we plan on releasing soon as a CD). I was
When you play by yourself or in a struck in particular by the single solo I consistently use the index, ring and pinky
duo you usually get to solo a few times take on Crawdadwhich begins in Carter fingers to play third, fifth and sixth fret
on any given song; you have time to start mode; hops into second position for both a notes (respectively); that the lick at the
out simply and gradually go for broke. burst of crosspicking and some pinky-rich end of measure eleven features three
But when you play in a group, most often swingy licks around the F-chord; and then consecutive UP strokes (since there are
youre limited to a single solo. It requires descends back to an open C chord to finish. two consecutive pull-offs which begin on
an all-in-one mindset. A study in consolidation if you will. up-strokesvery rare) ; and that there are
This occured to me as I was listening to Note that the second position fingerings five rest strokes in this solo (indicated
cuts from three days of live concerts that (ie those starting in the sixth measure) by the > sign).

The Crawdad Song

Arranged by Orrin Star

4 3 ..
1 C

&4 #n ...
> 0 . H 3 3 5 3
> >
0 0 0 0 0 0

H 1 1 P 35
H 1 1 1 1

3 2 3 3. J
0 0 0 H 0 0 0
2 0 0 2 2 10 0 2
0 3 3 3 3 0 0 3 3
3 3

# n # n # n #
C 3

7 G C
& # J

> H
3 30
6 3 5 6 5 3 0 0 0 0 3 3 5 3 6 5 3 5 3
5 4
3 3 3 3 3 45 5 4
4 0 0 0 5
5 4 3

# n # #n


& # #n
> 0.

4 5 3 3 0 0

6 3 6 6 3 6 3 3 4 5 5 4 3 3 0 3 1 P 1 1

3. J
5 5 5 5 5 5 3 4 0 2 0 0 0
5 4 3 3 20 0 2
3 2 3

= downstroke = upstroke > = reststroke

36 Flatpicking Guitar Magazine July/August 1998
By Kevin Stevenson

Quotes are a great way to spice up a Showtunes of left field somewhere. Long, open, ram-
solo, and really turn heads with your play- Some Enchanted Evening, Oklahoma, 76 bling tunes (like the fiddle classic Orange
ing. The right quote at the right time can Trombones, Do-Re-Me Blossom Special) offer space to stretch out
turn a forgettable, normal, break into an
and explore weird quotes, but be careful.
amusing and unique musical statement that Classic Rock This writer thinks that kind of rambling
reflects the personality and imagination of Smoke on the Water, Proud Mary and noodleing can begin to sound kind of
the player.
silly and self indulgent. The more tasteful
Weird Stuff approach is to select a short, quick quote
What is a quote? Yes we have no Bananas, Heart and Soul, that fits the chord structure of a normal tune
When you take a short phrase from a Chopsticks, Bridal March, Wedding reces- close enough to make a good match. That
well known song and insert it into an impro- sional, Five foot two, Eyes of blue, Ill Fly way it goes by quick enough to be quirky,
vised solo, that is quoting. For example, Away not silly. And like any type of wit or humor,
if youre soloing on Beaumont Rag, you
it can easily be overdone.
can stick in two bars from Popeye the Almost any Christmas song.....
Sailor, and it really sounds cool.
Kevin Stevenson is the owner of John-
How does it Fit son Jewelers in Bellflower, California.
Why quote The opening statement of a tune (some- A life long flatpicker, Kevin is a recently
Mostly because its fun. Quotes reflect times called the melodic hook) is all that converted (albeit fanatical) disciple of the
the musical diversity and cultural history is needed for the effect. The trick is to Steve Kaufman and can be reached at 562-
of the player. When you quote the theme use a theme that is instantly recognizable, 867-4420
from My Three Sons you date yourself as but somewhat obscure. (In fact, the more
a product of the 50s. If you stick in the lick obscure the better. When folks say I know
from Life in the Fastlane youll get grins that tune, but what is it? then youve played
from those conversant in classic rock, but a good quote.) Quotes are a way to show-
perplexed stares from the more traditional case your eclectic musical background as
pickers in the group. well as your command of cultural trivia!
The quote needs to (somewhat) fit the
Sources for Quotes melody of the flatpick tune its being stuck
Quotes can come from any and all of in. Sometimes you can only get in the first
your musical reference points. Thats what part of the phrase, then cap it off with a
makes if fun, by expressing some of your regular bluegrass lick. I suggest the fol-
own unique musical background. Some lowing game plan for structuring a solo
suggested sources: with a quote:

T. V. Themes 1. State the melody of the flatpick tune. (In

Jeopardy, Dragnet, I Dream of Jeannie, the example on the next page, Blackberry
Gilligans Island (try this on the B part Blossom)
of Blackberry Blossom), Mr. Rogers , 2. Play the section of the quote that fits into
Bonanza!, Bewitched, Patty Duke, Dick the chords of the song at that point, (the
Van Dyke, Leave it to Beaver, Star Trek, Andy Griffith Theme)
Flintstones, Brady Bunch, Inspector 3. Cap it off with a really cool lick.
Gadget, Mr. Ed
The first example (shown on the next
Movie Themes page) uses a short snippet from a TV show,
Star Wars, Close Encounters, Chariots of inserted into a flatpick classic: Blackberry
Fire, Exodus, Mission Impossible, Raiders Blossom with the Andy Griffith Theme.
of the Lost Ark The second example use a full four bars
from the quote to really fill up the solo, and
Classical Music works well to take up almost half of the A
Beethovens 9th, Brandenburg Concerto, part of the tune.
Hall of the Mountain King, Handels Mes-
siah, Broadway A good quote fits well enough musi-
cally but still gives a sense that it came out
Flatpicking Guitar Magazine July/August 1998
Example #1: Blackberry Blossom with Andy Griffith Show Quote inserted:

# 4

& 4 n

(Opening Statement of Classic Flatpick Tune - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -

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

# # n # #
A7 D G D C G C G D G
5 3

# J J
- - - - - - - - -) (Quote for Andy Griffith Show - - - - -) (Cool Ending Lick - - - - - - - - - - - - - -)
0 2 3 0 0

2 3 1 0 2 3 3 0 3 0
0 0 3 2 0 0
0 024 2 0
0 4

Example #2: Extended Andy Griffith Show Quote resolved with the same ending lick:

# 4

# n n

# J

& 4

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

A7 D
# # n #

& j
S 0 2 3 0 0

2 3 1 0 3 3 0 3 0

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

38 Flatpicking Guitar Magazine July/August 1998

Masters of Rhythm Guitar:

Gary Gordon by Dan Miller

I love hard driving, foot stomping, blood of eleven, however, he started

pumping bluegrass music, especially when learning completely on his
it is being delivered by a band who can play own. He says, I tried to make
and sing it just right. When the right push, some sounds that I had heard on
punch, and drive are combined with taste- Johnny Cash records and stuff
ful leads and solid harmony vocals my ears like that. I was trying to do it
perk right up. This is exactly what happened by ear and I didnt have any suc-
last year at the Gallagher Guitars Birthday cess. I was trying to learn on a
festival in Shelbyville, Tennessee. The band Silvertone that was very hard to
on stage was The Gordons and the song was play. About a year went by and
their original tune Sawdust. I was able to get a Supro elec-
Prior to that time, I had not heard The tric guitar. I started on electric
Gordons but after Sawdust got my atten- guitar and tried it on my own for
tion I listened closely and was incredibly a while, but then I got a years
impressed with their whole set. As soon worth of lessons from this dyed
as they got off stage I went to find the lead in the wool country guy named
singer and guitar player, Gary Gordon, and Webb Welter.
ask him where I could get a recording of When asked what kind of
Sawdust. I found out that the song was songs he was learning to play at that time,
written by Garys son, Noah, and is on The Gary said that the Beatles had hit the US guys house and his dad had a Martin. He
Gordons newest CD titled End Of A Long by then and he had become interested in snuck the thing out and we got to fooling
Hard Day. rock music. His teacher, in order to keep with it a little. Other than that, I never had
Although I got the CD in order to learn his interest, was teaching him some of the my hands on a good acoustic guitar. They
that one song, I discovered that all the songs Beatles songs, but since Webb Welter was were expensive.
on the CD are very well done and it has since really a country performer, Gary says, His On his eighteenth birthday (1971) Gary
become one of my favorite CDs. Gary and bridge to rock was through rockabilly, so he was given a Grammer acoustic guitar by his
his wife Roberta are accompanied by Bill was teaching me songs by artists like Buck wife Roberta. The couple had met when
Cross on banjo, David Johnson on fiddle, Owens and Carl Perkins. they were fifteen and gotten married after
Curtis Jay Hiner on bass, and special guests From the start, Garys interest in learning high school graduation. About that same
Noah Gordon (vocals), Katsuyuki Miyazaki how to play guitar was primarily to back up time, Gary also joined a rock and roll band
and Mark Stoffel on mandolin. While all his singing, so his teacher taught him how and the band experienced quite a bit of
of the instrumental work on the CD is top to play all of the common major, minor, and regional success. The band, Farm, played
notch, what I enjoy most about it is the sing- seventh chords. Webb also worked to insure to large regional crowds and were popular
ing. Gary and Roberta have been singing Garys timing and rhythm was solid. on the radio. In this band Gary played lead
together for about 30 years, and not only are By the time Gary was twelve years old and rhythm electric guitar.
they good at it, you can tell that they are still he was hired by some high school seniors By 1973 the band Farm had dissolved
passionate about it. In an interview I later to play rhythm guitar and sing harmony and Gary began taking a serious interest in
conducted with Gary he said, I just love in their band. Gary said, I went right to bluegrass. He had known about bluegrass
harmony singing to death. And it shows. work playing dances twice a week. When I all his life because he had grown up watch-
Gary Gordon got his start in music by expressed my surprise at him having played ing country music television shows that had
singing in the fields of his fathers southern in a band so early, Gary added, Its crazy featured bluegrass bands such as Flatt and
Illinois farm while he was weeding beans isnt it. But we are out in the country Scruggs and Jim and Jesse. However, Gary
and corn. He said, I started working when here! says that what really sold him on bluegrass
I was very young. We didnt use walkmans Gary continued playing bluesy rock and was the Will the Circle Be Unbroken album.
or anything like that in those days. Dad was country music in dance bands all through He began buying bluegrass albums when-
into folk music and country. Gary remem- high school. While he was playing electric ever he would see them and played blue-
bers singing songs by such artists as Johnny guitar in these bands, he states that he had grass music everyday with his friends.
Cash, Flatt and Scruggs, the Kingston Trio, always had an interest in acoustic guitars About the time Gary began exploring
and the Limelighters. He adds, When I was from seeing Porter Wagner and Ernest Tubb. bluegrass music he bought his wife an auto-
still a young kid I also got into Ernest Tubb. He said, I knew that they had really good harp. He says, I bought her an autoharp for
He was on TV each morning. guitars, but no body around here had one. Christmas never really thinking she would
Gary started playing guitar at the age Midway through high school I was at a learn to play it. She sang, but up to this point

Flatpicking Guitar Magazine July/August 1998
she hadnt learn to play any instruments. It it flowing. I like to be a team player and
didnt take her long to learn that autoharp I enjoy being dead on behind the instru-
and we began playing at home. Within six mentalists. I think it is cool to back people
or eight months we were going out and play- upI love it. He added that in the seven-
ing two or three clubs each night. What we ties, when The Gordons began traveling a
would do is go to places that were packed, lot and playing festivals, there were not
play about 25 minutes, and pass the hat. many people playing lead guitar in the blue-
This may sound like we were real bums grass setting so he stuck to playing rhythm
or something, but we started this stuff and because he felt like that was the traditional
eventually developed this big circuit of role of the guitar in bluegrass.
clubs where we could go and pass the hat While Garys concept of playing guitar
and I was able to quit my day job. in a bluegrass band kept the guitar in the
Gary and Roberta continued perform- traditional rhythm role, his rhythm style is
ing as a duo at these pass the hat gigs not necessarily traditional. Coming from
for about three years. The material they a country and rock background, Gary says
performed was all bluegrass and traditional that he tends to play more closed chord
country. Their current bluegrass band, The positions than the typical bluegrass player
Gordons, grew out of that duo when they and that he probably plays a larger variety
added a banjo and a bass in the mid-seven- of chords and chord inversions than many
ties. Gary has periodically held jobs outside of the traditional players.
of music over the pass 25 years, however, When asked if he was influenced by
he and his wife have always kept the music any of the bluegrass guitar players that he
going. met, Gary says that Norman Ford was a
Even though Gary has played lead guitar big influence. Norman was a player from
in rock bands, he does not step out and solo Missouri who performed in a band called
on the acoustic guitar in the bluegrass set- Dub Crouch and Norman Ford. Gary says,
ting. Gary says, On the acoustic guitar, I Norman was a real driving player with
like to play solid rhythm and really keep great timing. He was also real active and
lively with his runs.

40 Flatpicking Guitar Magazine July/August 1998

Although Gary does not include too guitar influenced the way I slide on and bend
many runs in his rhythm playing these strings on the acoustic.
days, he says, For several years I played a Summing up his approach to rhythm
lot of runs. I played a little more fancy, guitar, Gary says, Im very fortunate in
in some ways, than I do now. The way I that the players that I am working with are MAGAZINE
see it now, I try to play real simple while really good players and I really dig hearing
the singing is going on and keep it solid. what they are playing. I am careful to not
During certain instrumental breaks, I will play over them. I adjust my volume to the
play runs for half the break. For instance
I think that runs can really help to drive a
instrument. If the banjo players is playing
softer, up over the neck, Im going to lay Get the
banjo or fiddle break. back. If he is driving, Im going to be latest news
When asked about his approach to
rhythm guitar in general, Gary said, I tend
driving. Ive spent years trying to anticipate
where the other player is going and it is about your
to hear piano when I am playing guitar. very important to me to try and complement favorite
People may think I am crazy out of that the other players and the vocalists.
statement. But I think my playing might Since Gary primarily became interested
be slightly pianistic because I will hit
open notes and hammer-on notes inside of
in playing guitar in order to back up vocals,
I asked him to lend some advice about
a chord. I hear piano players move those playing guitar in support of a vocalist. He and bands,
notes that way. I think it spices it up a
lot. Gary also said that, when playing
said, I think that you should not overplay
and get in the way of the vocals. During recordings,
rhythm, his right hand is very active in vocals, simplify your runs, and dont do instruction,
that he changes its position relative to the
bridge quite a bit. He says, I dont like
your runs over the words. Keep your little
flourishes between stanzas. Lay back charts and
to stay around the bridge much. I might do during the versus and dig in during the much, much
some crosspicking back by the bridge, but
otherwise, I like the richness of picking
Recently The Gordons played a show in more
up over the soundhole. I will even pick
certain passages up over the fingerboard.
St. Louis to a large, very attentive crowd.
Half way through the show a man walked
You can get a lot of tonal difference and up to the stage. Gary thought he was month!
dynamic range that way. coming up with a request. He walked right
One reason I felt that it would be inter- up in front of Gary and said, Son, what
esting to feature Gary in this column is that kind of guitar are you playing? Gary told

he did not grow up playing bluegrass. His him that the guitar was a Gallagher G50.
background was in country and rock music The man said, It sounds great, I had to
and he did not start playing bluegrass until get a good close look at it. At the end of
he had already been playing professionally the same night, another man came up and "Coming
for a number of years. Knowing that Gary said, Your guitar playing is great. Gary Attractions"
had come from a country, folk and rock replied, It is just a tonal thing, Im not that An itinerary
background, I asked him if that background good. The man said, It comes across just
had had a great influence on the way he great. Gary said, I think that is proof that
to help you
approaches bluegrass rhythm guitar. Gary you dont have to be the fastest player or the keep track of
said, Absolutely. I think that because the busiest player for people to love it. where your
electric guitar is very sensitive to how hard Gary Gordon has been playing Gal- favorite Subscribe
you pick it, I have always been careful to lagher guitars for about the last six years. band or Now & Save
keep all of the notes clean. I dont get buzz- Prior to that he had been playing a 1968 musician will 33% off
ing notes. I am not an acoustic player who Martin D-35. He likes the dry tone, clear
overpicks. Some players say that my touch notes, and punch of the mahogany Galla-
be newsstand
is delicate, but I can get down and grab some gher guitar. He said that it is really present performing. price 1 year/
volume too. I am prone to not play quite and never boomy. On stage Gary does not 12 issues
so hard all the time. I want to hear a lot of like to plug in or use a sound hole mic. He $23
dynamic range from my instrument. I think always carries his own mics and likes to use
part of the comes from varying the position AKG 451 and an Audiotech 813. He likes
of my right hand. GHS phosphor bronze strings on the Gal-
Gary adds, I have played the Parsons- lagher and uses the Clayton Ultem gold Call 1-800-736-0125
White string bender on my electric guitar .80 mm picks. or write: P.O. Box 2020
since 1980. I have always been a Byrds You can contact Gary Gordon at: Rolla, MO 65402
fan and we have always incorporated some
Byrds material in every show we do. I think Accepted
that playing the string bender on the electric
Flatpicking Guitar Magazine July/August 1998
Guitar Making
by Don Gallagher
Guitar Woods - Part II
In part I of our article on guitar woods seen a rosebush that big.
(printed in the March/April 98 issue) we The name does derive from the fragrant
considered the characteristics of some of the scent of the timber. The Chinese writer
woods that are being used for tops. These Cao Zhao, in The Essential Criteria of
woods included Sitka Spruce, German Antiquities (1388) wrote: Its fragrance
Spruce, Engelmann Spruce, Red Adiron- much resembles that of the truth-bringing
dack or Appalachian spruce, and Alaskan incense. I am not sure what truths are
yellow cedar. Many people would argue that brought from those who work with it; how-
the top is the most important piece of wood ever, its dust is amongst the most irritating,
in the acoustic guitar. The top acts like a allergy provoking of any wood. instead. East Indian Rosewood has essen-
diaphragm to pump the air inside the body Brazilian Rosewood is the most highly tially replaced Brazilian Rosewood as the
of the instrument amplifying the sound. To sought after wood for guitar bodies. It is a type of Rosewood commonly used in guitar
accomplish this function the top needs to be very dense wood that produces a rich, crisp making. It is slightly less dense but more
strong, yet flexible. resonant tone. Its reflective qualities make stable than Brazilian Rosewood. It too
While the top serves to amplify the sound, it an ideal wood for musical instruments. shows a wide range of grain configurations
the woods the back and sides are made of Brazilian rosewood guitars are indeed very and colors. The grain is not quite as exotic
serve to color the sound. Therefore, although responsive, rich and clear in tone. It is also appearing as most of the Brazilian Rose-
it is very important for the top to effectively a very beautiful wood. In fact, Rosewoods wood. Colors range from red to light brown
project the sound of the instrument, it is just have been prized throughout history because with golden streaks. Mineral deposits are
as important to project the type of sound you of their rich and exotic grain and colors. Its fairly common in Indian Rosewood. These
desire. color is usually variegated and can range white mineral deposits in the pores of the
One important role of the back is to reflect tremendously from shades of brown and wood can be rendered invisible by simply
sound waves to the top, thus making the top chocolate to orange and violet, often with rubbing the area with acetone or lacquer
more dynamic. Obviously, then, not only irregular black streaks. thinner to color the deposits with resin from
will the back woods affect the tone but also Because Brazilian Rosewood has been the surrounding wood. Typically the colors
have a bearing on the projection of sound such a popular wood throughout history, are of various shades of purple. Quartered
from the instrument. and because it takes at least 100 years for sawn Indian Rosewood makes a beauti-
Unlike the top, another real consideration a rosewood tree to fully mature, it is now ful guitar with excellent tone. Rosewood
in selecting the type of wood for the back and near extinction. This scarcity has driven the produces a deep, rich tone. Sometimes the
sides of your instrument is its appearance. price of Brazilian Rosewood wildly high. note separation will not be as clear as one
Tops are considerably more homogenous in There are some concerns. It is almost would like. A stiff top will help to preserve
appearance compared to woods for the back impossible to find quartered sawn Brazil- the deep, rich tone and also provide clearer
and sides. The variety of the woods available ian Rosewood. A quartered sawn piece of note separation. More flexible tops will
for the backs and sides offer many different wood is substantially stronger and more accentuate the base sound of the rosewood
striking looks. stable than slab sawn wood. This means at the sacrifice of note clarity.
Brazilian Rosewood, East Indian Rose- you can expect to find some waviness in the Mahogany has long been a top choice of
wood, Honduras Mahogany and African body, particularly in the sides. Slab sawn instrument builders. Mahogany is a very
Mahogany are the woods we have primar- wood will produce striking grain configura- stable wood. It is considerably less dense
ily use in guitar building for backs and sides. tions. Worm holes and pinholes are a fact and stiff than Rosewood species. Honduras
Other woods we have used in more limited of Brazilian rosewood. These can typically Mahogany is slightly less dense than Afri-
amounts are Madagascar Rosewood, Cocob- be disguised nicely. Also hairline season can Mahogany. Both types of Mahogany
lola, Walnut, and Maple. cracks are common in Brazilian Rosewood. provide good note separation. Mahogany
Rosewood has been a favorite wood for These pose a cosmetic concern and do not tends to be a little thin and trebly in sound.
furniture making as well instrument building damage the guitar structurally. Super glue A more flexible top and voiced top bracing
for hundreds of years. The name rosewood can fix the small checks and season cracks will maintain the clarity characteristic
has nothing to do with garden roses. A easily. of Mahogany while providing body and
number of years ago I was taking a group All in all, if you can bear the price, Bra- fullness to the tone.
of ladies through our shop. At one point I zilian Rosewood is still the preferred choice The grain configuration of Honduras
picked up a guitar back explaining that this for that exceptional guitar. Mahogany is very plain and uninteresting.
guitar back was made of rosewood. One In the late sixties, because of an embargo African Mahogany also has nice straight
very indicant lady exclaimed she had never on the exportation of raw logs from Brazil, grain but usually with cross-hatching or
East Indian Rosewood started being used
42 Flatpicking Guitar Magazine July/August 1998
silking in the grain which gives it a striking Walnut is not a common wood for acous-
appearance. African Mahogany has slightly tic guitars, but we have been very excited
better reflective qualities than Honduras, with the results we have had with walnut,
making a guitar with better projection. particularly on Grand Auditorium bodies.
Maple is another very traditional wood Walnut is the same denseness as Mahogany
for guitar making. It is creamy-white in and slightly stiffer. Its tone is warm and soft.
color with a close, straight grain. Maple, It is a very attractive wood. Its color is a
which has pronounced flaming, is very rich dark brown to purplish-black. The grain
beautiful. It produces a bright clear tone is usually straight, but sometimes wavy or
and is known for its power and cutting abil- curly. In a Grand Auditorium body size,
ity. It is more typically used with arch top with a stiff top, the tone is warm, with good
guitars, or very large bodied acoustic guitars clarity, and surprising projection.
most notably the J-200 Gibson. Madagascar Rosewood is the newest
Cocobolo is a wood we have just used wood we have used to make instruments. It
in making a guitar. Cocobolo grows along is of the same genus as Brazilian Rosewood.
the pacific seaboard of Central America It is a very dense, stiff wood. It is light
from Mexico to Panama. It is as dense and brown in color with very straight grain.
slightly stiffer than Brazilian Rosewood. Appearance is plain but elegant. It is an
The appearance is eye catching. It is a extremely porous wood which requires care
deep mellow orange-red with darker stripes to fill properly. Madagascar Rosewood
and mottling. This is certainly an uncon- produces a clear, well- balanced sound that
ventional wood that is worth checking out is strong and powerful.
if you are looking for an exceptional guitar. There are certainly other woods suit-
The main draw back from a makers point of able for making good quality instruments.
view is that its dust can be an irritant which Each wood brings with it to the construc-
causes swelling of the eyes and a rash. Some tion of an instrument certain traits, which
makers might prefer not to expose them- will make that guitar special and uniquely
selves to its dust. suited to you.

Flatpicking Guitar Magazine July/August 1998
Clarence White:
A Fool Such As I
by Dix Bruce

A Fool Such As I is one of Clarence bars are the Dobro introduction played by
Whites most beautiful and moving recorded Tut Taylor. I included it because I love the
guitar solos. Its wonderfully melodic yet way Tuts lines move and unexpectedly over one quarter note. A whole measure
incorporates many interesting and surpris- intertwine and also because Tut Taylor is of triplets would be counted as: one-
ing moves which never detract from the one of the rare Dobro players who uses a two-three, two-two-three, three-two-three,
melody as composed. And, as youll hear, flatpick instead of fingerpicks. four-two-three. It can get confusing when
its just about perfectly guitaristic. It all Clarence Whites solo begins in measure theyre all mixed up together. Heres how
lays quite well on the guitar and all the 5 (M5) with a typical hammer on from the wed count M8: one, two-two-three, three-
hammers, pull offs, and slides make perfect open fourth string to the second fret fourth two-three, four-and.
sense in the context of the guitar. A Fool string. Throughout the piece, Clarence M10 has the first of several double stop
Such As I was one of the first guitar solos changes the time value of his hammer and passages. Double stops are simply playing
I learned off a record because I found it pull pairs from almost equal eighth notes two notes at the same time. In this case,
beautiful and within reach. I think youll (M6) to a sixteenth note followed by a since the first notes are not both fretted,
enjoy it too. dotted eighth (M5) to a grace note followed its not technically a double stop. However,
As you play through the solo, keep by a quarter note (M18). We even have a to play the hammer double stops, hold a C
your hand in the basic position of the chord sixteenth note hammer on pair in M10. chord, play the third and second strings
youre playing. If you do that, youll find He varies the duration of the first note of and then hammer on to the second fret of
that most of the notes are within reach from the pair. Its quite difficult to notate these the third string with your second finger
that basic position. (See M8) There are a difference exactly and still have something while the second string C note continues
few spots, for example on the E7 chord in thats readable. To really get a feel for how to ring.
M7, 15, etc. and the F chord in M41, where theyre played, youll need to listen to the In M22 through 38, I transcribed some
youll drop the basic chord position to reach recording, but if you dont have it available, of Clarences backup playing behind his
notes. In these cases unusual fingerings play them all initially as equal eighth notes. brother Rolands mandolin playing. In
are noted. Then give the first note less time on the M39, Clarence plays lead again on the
The tablature is my approximation of sixteenth / dotted eighth pairs, even less on bridge to the Dobro solo. M41 has some
how I think Clarence might have played the pairs with grace notes. double stops and suggested fingerings are
these notes. I never saw him play live and Triplets are very important to this solo. noted. M45 also has double stops. M49 is a
certainly never saw him play A Fool Such The first is in M8. Since this piece is played challenge with its string bends, especially
As I. The Clarence White experts out there in 4/4 time, we divide the measure up into capoed at the 4th fret. Bend the Eb note
can probably shed light on specifics and four equal parts. We count one, two, three, up to E natural.
exactnesses and I look forward to hearing four for each measure. Two eighth notes So there you have it! In the introduction
from them. fit over the time of one quarter note and I mentioned that I thought this was one
A Fool Such As I is played with key wed count a whole measure of eight eighth of Clarence Whites most beautiful and
of C chords capoed at the fourth fret. The notes as: one-and, two-and, three-and, moving recorded guitar solos. In retrospect,
actual key is E. The pickup and first four four-and. A triplet fits three eighth notes I think Im wrong. Upon careful study, Id

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44 Flatpicking Guitar Magazine July/August 1998
Capo 4 A Fool Such As I Arranged by Clarence White
Transcribed by Dix Bruce

C 3 G7 C

3 3 3
Dobro Intro:
1 Guitar Solo:

&4 . j .

0 0 0 0 0 0 1 0
1 3 0 3 0 1 1 H

0 0 0 0 0 0 0 0
3 2 2 2 2 2 2 2 02


3 3 3 3
6 C
E7 F C


J J .

H 3

S P H 1 0 H
0 H
3 5 3 35
1 1 3 3 3 1 1 1 1 1 1

0 4 20 02 2 0 0 0 0 0
3 2 0 0 02 02 2
3 3 3
3 j
11 E7

& . .
3 j j

. .

3 3 0
1 H 35 35

1 0 0 0 0 1 3 3 0 3

02 0 0 0 0 0 0 02 2 0 0
2 3 2 0 0 0 02
02 2
3 3

F 3

16 C G7 C

& j jj


P H 1 0 0
1 1 H 1 H 1 0
20 02 2 0 0 H 0 0 0 2

3 0 02 2 0 2 23 0 0 2 0

3 3 3 02 2 3 3
3 Guitar backup for mandolin solo:


21 F C


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

Flatpicking Guitar Magazine July/August 1998
A Fool Such As I (cont)

26 G D G C

& b
# .
2 2 3 3 0 0
3 3 0 H 0 1 1
2 2 0 0 0 0

0 2 1 0 0 0 0 0 0 2 2
2 2 2 02 2 0 2 3 3
3 2 3 3 3

31 E F C G

& #

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

j j j
Dobro solo: Guitar bridge on Dobro solo:
36 C F


0 0 0 0 0 H 1
1 1 1 1 1 1 1 1 0 1
0 0 0 0 0 0 0 02 2

3 2 2 2 2 3
3 3 0 2 3

j .
G D7

41 3

j j j b j


1 3

H 2
1 3 1 3 1 1 0 3

0 4 2 0 0 0 0 0 02 2
0 2 2 2 1 0
0 0 24 4

3 3 3 2 3

3 3


46 C E7 F


& .

. J J


0 P H 1

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

. J
0 02 0 0 0 4 BEND BEND 20 02 2
2 3
2 0 0 02 3


3 3
3 3

46 Flatpicking Guitar Magazine July/August 1998

A Fool Such As I (cont)



C G7 Dobro solo #2:

& J


0 0 0 0 0
1 1 1 1 1
1 1 1 1
0 0 0 H 0 02 0 0 0 0 0 0

0 2 2 0 2 3 0 0 2 3 2

3 02 2 3 0 2 3
3 3 3
3 3

Flatpicking Guitar Magazine July/August 1998
Mastering the

The Language of Music as interesting variations on that theme. The

known to music has been used in bluegrass
revealed through e-mail key message here is that all of the variations
(hmmm, I think that nearly every scale form
still reflect the theme. So, untrained (in the
was used in a single song on the Markology
I guess its a time to reveal my innermost classical sense) masters of the fiddle are
album; check out Pickin in the Wind!).
secrets. I subscribe to the flatpick-l list doing the same things that classical masters
After all of this long winded discussion,
server, but I dont read every message. do when they play Grey Eagle or Sally
youre probably wondering exactly why
For those of you that arent on the inter- Goodin with umpteen million variations?
I would spend hours writing this column
net, the flatpick-l list server is an e-mail Absolutely!
explaining scales, forms, and exercises. The
server that keeps those of us in the flatpick- Great fiddlers like Mark OConnor and
reason is that we practice scales because:
ing community in touch, and allows us to Byron Berline are masters of doing this
1) They help us to understand music.
ask questions and argue, and generally talk theme and variations type of music. I
2) A thorough understanding of the instru-
guitar trash all of the time, instead of just on think that the goal of playing fiddle tunes
ment is a prerequisite to making the best
those rare occasions when were physically is that at any point in the music, even if
music that we can.
together. Its a nice forum, with all levels youre on the 6th or 60th time through the
3) Scales help us to smoothly play anywhere
and points of view represented. song, you should still be able to hear the
on the fingerboard; for example, because
One question that came up recently on melody, and should still know what song is
Ive practiced scales and technical exercises
the list server that I did read was (loosely being played. Marks Markology Album,
in different keys, I can now smoothly play
phrased): I use pentatonic scales to play done when he was 16, is a fabulous study
passages that use those patterns in making
over Rock and Blues. Are there any blue- of the guitar fingerboard and interesting
grass scales that I can learn to help my variations on the theme; his Soppin the
4) Scales are one of the chief, reoccurring
playing? Gravy album of fiddle tunes is a must hear
patterns in music.
for flatpickers to get the fiddle tune style.
Anyway, there are more reasons, but
Bluegrass and Classical Music
remember a couple of things:
Before jumping into new technical stud- How does that relate to scales?
1) Playing scales does not by itself make
ies, lets consider this question in the larger Ok, how does that answer the question
great music, but,
context of playing fiddle tunes on flatpicked of what bluegrass scales? Well, I guess
2) Great music always includes some scale
guitar, because I want you to know why you it really doesnt. Music is more than scales.
need to master the scale forms, and how to A musician that plays a scale over a set of
I always remember what fellow columnist
apply them. changes, whether that be pentatonic, dimin-
Steve Kaufman told me once: Try to
Bluegrass and fiddle tunes are both simple ished, major, minor, or any other bunch of
play the melody. Well be ready when
and complex. Theyre simple in the sense notes, without regard to the melody of the
that melody occurs, because we know the
that most often the chord changes are of the tune, is just playing a bunch of notes, with
I, IV, V variety. Clearly there are tunes that no social significance. Our goal is to
dont follow this form, but generally speak- learn enough to master the instrument so
Two Octave Technical Studies:
ing even those tunes that dont are simple that we can play variations on the theme,
Lets move on; todays technical study
compared to tunes from the classical or jazz but to always reflect that theme. Think
will give us an exercise to help master the
repertoire. about this, if you dont play the melody
two octave forms of the major scales pre-
The complexity of fiddle tunes arises youre playing the licks that you know; after
sented in last months column. As always,
from what I refer to as the theme and varia- a while youre repeating yourself. When
practice this exercise with all of the forms
tions form of the melody. In this sense, I that happens youre musically boring. On
that you know. I realize that because this is
think of methods like the Arban (a classical the other hand, when youre playing the
two octaves, some of the one octave forms
French conservatory approach to mastering melody of a tune with variations, you dont
may not work for the entire form. Well
the trumpet), and in modern day methods, ever have to repeat yourself, and your music
discuss moving between forms and exten-
material like the Kaufman Parking Log stays interesting.
sions in a later article.
Pickers series. In each of these methods, So, the simple answer to the question
the music states a theme, then takes the posed above is, yes, there are bluegrass
musician through increasingly difficult and scales. In fact, I suspect that every scale

48 Flatpicking Guitar Magazine July/August 1998

# 4 .
Two Octave Technical Study in G; first position:

& 4 .

.. 0 0 2 0
0 0 0 0 2 4 0 2 4 4 2
0 2 3 3 2 0 0 2 3 3 2 0 0 2 3 3 2 0 0 2 3
3 3 3 3

# ..

0 2 0 0 2 0 .. 0 2 0
0 2 4 4 2 0 2 4 4 2 0 2 4 2 0 0 2 4 4 2 0
3 2 0 0 2 3 3 2 0

# ww
& ww

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

Notes: Ok, lets look at a couple of things Note also that in the second exercise, repeated 5th fret from G string to D string.
on this exercise; both of these exercises youre playing an entirely moveable form; Use the index finger in a pseudo mini-bar to
are the same form, the G form that we move it up two frets and youre in the key play both strings to keep the timing straight.
studied in last issue. Both forms cover two of D Major, down three frets (to second Have fun and keep on pickin!
complete octaves without a hand position position) and youre in A Major. I know
shift. The first portion of the exercise, up that the stretch in the measure that plays
to the repeat, covers a single octave; all of frets 5-7-9 is pretty tough. Keep working
the forms that weve learned to date can be at it slowly, keep the metronome in time,
used with this exercise. and youll get it. Also, measure 4-5 has a

Flatpicking Guitar Magazine
on the internet:

Flatpicking Guitar Magazine July/August 1998
Two Octave Technical Study in C; fifth position:


& 4 ..

.. 5 5 7 5
5 5 5 5 7 9 5 7 9 9 7
5 7 8 8 7 5 5 7 8 8 7 5 5 7 8 8 7 5 6 7 8
8 8 8 8

& ..

5 7 5 5 7 5 .. 5 7 5
5 7 9 9 7 5 7 9 9 7 5 7 9 7 6 5 7 9 9 7 5
8 7 5 5 7 8 8 7 5

& w
5 5 7 8
5 6 5 5 6 8 8 6 5 5 6 8 8
5 7 7 5 5 7 7 5 5 7 9
5 7 9 9 7 5 5 7 9 9 7 9 10
7 8 8 10

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only $22.00
per year
50 Flatpicking Guitar Magazine July/August 1998
Vintage Voice by Bill Bush

The Clarence White Guitar

Every genre of popular music has its We bought that guitar at McCabes
Holy Grail, its most sacred relics and Guitar Shop in Los Angeles in 1958 or
icons. 1959, Roland recounts. It already had the
Such venerable axes as Jimi Hendrixs enlarged soundhole; whoever had owned it
white Woodstock Stratocaster, Bill before us had worn the edges off the sound-
Monroes F-5 mandolin, Willie Nelsons hole playing hard with a pick, and instead
air-conditioned Martin N-20, are a few that of having it properly repaired or restored,
readily come to mind. they cut away the worn edges. They also
Among many bluegrass guitarists, sanded the top real thin. The guitar did have a fingerboard on
however, nothing approaches the mythical What??!! You mean Clarence didnt it, but someone had cut it off at the first
stature of the late Clarence Whites 1935 put cigarette butts out on the edge of the fret, and then taped the fingerboard back
Martin D-28 with its enlarged soundhole soundhole, and then pare back the wood on to the neck, says Roland. We took
and extended fingerboard. with a pocketknife? Nope. Nor did he buy the guitar to (repairman) Milt Owens who
Clarence, of course, is certainly no less the guitar in pieces, or scrounge around for used to work on Joe Maphis guitars. Milt
a legend than his own fabled guitar. From the Gretch fingerboard. took one look at the fingerboard and said,
his early acoustic days with the Kentucky thatll never work! He had a Gretch
Colonels to his tenure as a top LA session fingerboard and he put it on the guitar
player and member of the Byrds, White instead. Milt also told us that the top had
continually raised the bar in tasteful, been sanded so thin that when we put those
innovative playingflatpicking, fingerpick- Gibson Jumbos (strings) on it, the top was
ing, rolls, rhythm, lead, bluegrass, rock, going to pull right up, which it did.
b-bender, b-advisedthere was a guitar What about all of Clarences wonderful
player. lead work? Surely that D-28 played a big
Ironically, at the time of his death in part in the overall sound and feel of it all?
1973 Clarence no longer owned the guitar No, again.
that would forever be linked to his name That guitar had very high action, and
and music. The story is that White gave it was very hard for Clarence to play leads
the guitar to a man as collateral for a loan, on it so he used it mostly for rhythm. He
later had a falling out with the guy, and used a D-18 for most of the lead work. I
was never able to buy back his beloved old played that guitar (the D-28) and Roger
D-28. Well, maybe.... (Bush) played that guitar and neither of us
According to Roland White, Clarence could get any sound out of it. But Clarence
sold the guitar to Joe Miller, a friend in Los could play that guitar and make it sound
Angeles, for $500 who had long admired real good.
the instruments look and sound. But Which brings us to the heart of the
Clarence never wanted the guitar back. matter.
Tony Rice, however, did want the guitar, Today, three of Americas premier
located Joe Miller in 1975, and was able to acoustic guitar buildersSanta Cruz,
purchase it for $550. (Tony has since put Collings and Martinoffer a large sound-
the guitar into semi-retirement favoring hole model based, more or less, on Clar-
instead his own Santa Cruz Tony Rice ence Whites old 1935 D-28.
D Model.) These are exquisite instruments in sound,
Such stories about the origins of this looks, materials and workmanship, a far
guitar, its modifications, and Clarences cry from the wreck Clarence rescued from
attachment to it (or lack thereof) still abound McCabes nearly 40 years ago. And while
years after the fact. Who really knows? In all three builders have faithfully replicated
researching this article, I contacted Roland many of the features of Clarences guitar
White, Clarences brother and fellow (especially Santa Cruz who was the first to
member of the Country Boys and Kentucky build this type guitar back in 1979), as well
Colonels, and the one person who was as added their own modern day improve-
probably in the best position to accurately ments, these guitars all lack one key ingre-
Clarence White with his
comment on the guitars colorful history. dient -- Clarence White himself.
1935 Martin D-28
Flatpicking Guitar Magazine July/August 1998



plus 2.50 p & h

Also available:
All 508 Tunes in the Book, played by
Adam on five 90-Minute Cassettes
Ideal Learning Tool!
Adam plays lead on one channel and
rhythm on the other, with clean separation
Tony Rice has owned his 1935 Martin D-28 since 1975.
$13.95 per tape/$59.95 per set The unique guitar, formely owned by Clarence White,
plus $1.00 p & h per tape/$2.50 per set
has inspired large soundhole models currently being built
by Martin, Collings, and Santa Cruz.
ABOUT GFTFG: Clarence never sat down with that old with the knowledge of those variables that
D-28 and said this enlarged soundhole distinguishes greatness.
INSIDE BLUEGRASS: will certainly boost the treble and mid- The finest guitars, in my estimation,
Brilliant. . . ranges so essential to my playing. He just are a product of many things -- quality
highly recommended played the damned thing. As John Holman, materials, understanding of acoustics, skill
the exclusive dealer for Collings Clarence in lutherie and woodworking, experience,
DIRTY LINEN: White model so aptly put it, who really and, yes, some measure of intuition. Above
What a great idea! knows what factors, or combination of all, really great guitars are built with a
factors, made that particular guitar sound thorough knowledge of and respect for the
BLUEGRASS UNLIMITED: the way it did. The biggest factor Id say player, including playing styles, personal
I consider GFTFG and the was Clarence White. preferences in tone and action, even the
companion cassettes a bargain Guitarmakers Bob Taylor and Bob physical environment in which the player
Benedetto have both demonstrated that the performs.
for any traditionally-oriented human element is the X-factor in guitar Perhaps the greatest compliment that
guitarist with an interest in building, too, as evidenced by the Taylor can be paid to Santa Cruz, Collings and
flatpicking fiddle tunes, regard- pallet guitar built from a shipping pallet, Martin, is that Clarence would have loved
less of level and experience. and Benedettos lumber yard special the guitars theyve built in his honor. Each
built from cheap knotty pine scraps. Each one is a real guitar players guitar.
guitar was built as an experiment to weigh And there was a guitar
...the original fiddle tune fake- the human variable -- the art and talent that player.
book for guitarists...I give it the the individual builder brings to the guitar
highest recommendation making process. Ive played both of these
guitars, and they are superb in tone. Bill Bush is an advertising writer/producer
TO ORDER, OR TO GET OUR But while it would be easy to say that its and music journalist whose articles have
CATALOG, CALL OR WRITE just the builders talent that makes for great appeared in Guitar Player magazine,
guitars, its not quite that simple. Frets magazine, The Guitar Player Book
GRANGER A large sound hole does boost the (Grove Press), Artists Of American Folk
PUBLICATIONS, INC treble and mid range; Adirondack, German, Music (Quill Books), and liner notes for
Sitka and Engleman spruce are acoustically EMI/Capitol Records, Folk Era, and Bear
Dept FG PO Box 26115
different; neck profiles and densities do
Shoreview, Mn 55126 affect tone as do finishes, bracing, and

1-800-575-4402 numerous other variables. Its whats done



52 Flatpicking Guitar Magazine July/August 1998

Flatpicking Guitar Magazine July/August 1998
by Adam Granger
An Original Tune
This past winter, I was approached * * *Long Sentence Warning!!!* * *
by director Kent Stephens to compose Whing-Ding is an expression used

Easytab is like conventional tab-

lature, except that timing nota-
tion has been streamlined and

notes, Easytab uses the eighth

note as its basic unit. An eighth
rest is indicated by a dot. There-
fore, a note with a dot after it is a
quarter note, and a note with three
dots after it is a half note. There
are a total of eight notes and rests
simplified. Since fiddle tunes
are comprised mainly of eighth
by the writer of a letter in a Western

and perform a musical score for a
production of John Steinbecks Of magazine that the mule-skinner, Slim,
Mice and Men which ran for two reads aloud in the bunkhouse of the

months this spring at St. Pauls Park ranch where George and Lenny, the two
Square Theater. main characters in the play, end up, in an

per measure.
This effort produced thirteen effort to draw the barley bucker Carlsons
instrumental pieces of music, which attention away from wanting to shoot
are about to become a new solo CD, old bunkhouse swamper Candys dog
predictably titled Of Mice and Men. because its old and smelly. The writer
The tunes range from fingerpicked of the letter, William Tenner (who also

Pick with an alternating style:

etc. The first note of each mea-

sure should be a downstroke,
the last an upstroke. Include
rests in this alternating pattern.

beats, so that, no matter what

the configuration of notes and
rests in an eight-unit measure,
This keeps you in synch,
playing downstrokes on the

the right hand plays them

electric slide to flatpicked acoustic. I has his own tune, Bill Tenners Reel,

stoleexcuse meI borrowed phrases on the album), compliments author
Peter Rand, saying his stories are really

from Steinbecks script for my titles
(Floozy Dog Blues, Nice Food with whing-ding.
Ketchup, Bindle Stiff Blues and Carlson ends up shooting Candys dog

Candys Waltz are examples). anyway. But enough of this cheerful tale;
lets talk about Whing-Ding:

First, lets take a gander at the about those D7sus4s, take a look at third measure of that line each equal
basic structure of this tune. Its a 72- one: two notes in length, so the first note
bar tune, consisting of a strummed D7sus4 after each is picked down.
eight-bar intro and two sixteen-bar Moving into the second
parts, each part repeated. part, finger the seventh and eigth
The structure looks more measures as indicated. Make the
complicated than it is because of slide in the next measure with your
the six-note intros to the two parts. little finger, then youre set up to
These are placed at the ends of lines play the following measure using
because they are actually pick-up zone coverage (each finger covers
notes. If that doesnt make sense, This is a prime example of the fact a corresponding fret), then float back
dont worry about it. Just play the that the hardest thing about a chord to first position using the open B
tune as its written. And, of course, often is figuring out what to call it. note that follows the 7th-fret G-string
for an audio reference, buy the CD! All Im doing is sliding my ring note.
The intro is basically just rhythm finger up one fret from where it was, The tune ends with a D triad of
guitar, in a boom-chick. . .a-chick- and it becomes this scary thing. harmonics at the seventh fret on the
a pattern. This is shown by large Okay, lets blast on into the first D, G and B strings.
slashes for the downstrums and part. Not much voodoo here. Do This tune takes great advantage
smaller ones for the upstrums. For note that the phrases after the three of the strength of the detuned D
the first two bars, were playing a strums start with upstrokes (if you position on the guitar, notably via
D7, for the next two, D7sus4, then dont know why, see For Beginners the extra low octave and strong
two more of D7, then one of D7sus4, above). The slide at the start of the open strings on the bottom half of
then a stop on D7 to go into the first third line and the hammer-on in the the guitar.
part. Now before you start sniveling
54 Flatpicking Guitar Magazine July/August 1998
by Adam Granger KEY: DROP D
(tune low E down to D)
D D7sus4 D D7sus4 D
0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 I0 0 0 0 0 0
0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0
0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 3 4


00000000000000000000000000000000000000000000000000000000000 II0 0 0 0 0
0000000000000000000000000000000000000000100000000000000000 000000
0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 2 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0
0 0 0 0 0 0 0 0 2 3 0 2 0 0 0 0 0 0 0 0 0 0 0 0 0 3 0 2 0 0 0 0 2 3 0 2 0 0 0 0 0 0 0 3 2 0 0 0 0 0 0 0 0 0 0 0 0 00 0
0 0 3-5 0 0 0 0 0 0 0 0 0 0 3 0 0-2 0 2 0 0 2 0 0 0 0 0 0 0 2 0 0 0 0 0 0 0 3 0 0 0 0 0 0 0 0 3 0 3 2 1 0 0 0 0 0 0 0 0 0 0 0 0
0 0 0sl0 0 0 0 0 0 0 0 0 0 0 0 0 0h0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 3 2 1 0 0 0 0 0 0 0 0

D D7sus4 A
0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 3 0 0 3 0 0 3 0 0 2 0 0 2 0 0 0 0 0 0 0 0 0 0 0 5 7-
0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0sl
4 3 2 3 21 1 4

-8 7 5 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0
0 0 0 0 0 0 7 0 0 0 2 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 2 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 7 0 0 0 0
0 0 0 0 0 0 0 0 0 0 0 0 3 4 0 0 0 0 0 0 0 0 0 0 0 0 3 0 2 0 0 0 0 2 3 0 2 0 0 0 0 0 0 0 3 2 0 0 0 0 0 0 0 0 0 0 0 0 0 7 0000
0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 3 0-2 0 2 0 0 2 0 0 0 0 0 0 0 2 0 0 0 0 0 0 0 3 0 0 0 0 0 0 0 0 3 0 3 2 1 0 0 0 0 0 0 0 0 0 0 0 0
sl0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0h0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 3 2 1 0 0har

This is the first original piece Ive imposed upon you Sequel, and that we become very wealthy people and
folks. I hope that you give it a try and that you fall in that it doesnt get in the way too much of our being
love with it, become a professional musician (if youre decent folk. Thats at the top of my wish list, Ill accept
not one already), record it and make it a hit, and I hope modified versions of it.
that then it becomes the theme song for Titanic: The Thats it. Until next time, keep on pickin!

Adam Granger has been playing guitar since Ike was president. He worked on A Prairie Home Companion for three years, as
leader of the house band, The Powdermilk Biscuit Band. He has judged the National Flatpick Guitar Contest in Winfield, Kansas, and
will be teaching this summer at The Puget Sound Guitar Workshop and Camp Bluegrass in Levelland, Texas.
He has recorded seven albums, including Twin Picking, an all-instrumental flatpick album with Dudley Murphy, two with The
Powdermilk Biscuit Band, two solo albums of original material, and a swing album with mandolinist Dick Nunneley, as the Eclectic
Brothers. A new solo instrumental CD, Of Mice and Men, will be released this spring.
His book, Grangers Fiddle Tunes for Guitar, is the largest collections of fiddle tunes in guitar tablature, and, along with the
accompanying set of recordings of the 508 tunes, it comprises the largest source of fiddle tunes for flatpickers in the world.
Adam cant swim, and is afraid of large things, alive or not, under water.

Flatpicking Guitar Magazine July/August 1998
Exploring Bluegrass Guitar
Clarence Revisited
by Steve Pottier

He starts with Billy in the Lowground. where once there was straight time. Then a followed this column know that I am a
The second time through the B part he tag and onto the next tune. tremendous fan of his music. One of my
makes a mistake, stops to fix it by backing This was Clarence White practicing while measures of great music is that it continues
up a measure and starting another run at playing into a tape recorder. Of course, the to move and enlighten me with repeated lis-
it, then plays the B part twice more. He tunes already sounded great, but its a rare tenings. Clarences music does that for me.
stops for a minute, then plays the tune all treat to hear how a great player deals with Here is something that seemed to bubble up
the way through three more times, pretty his day to day practice, how he too can hit from my unconscious recently, and Id like
much the same each time, but with some a snag, but works it out with the technique to share it with you.
slight variations. Finally, a tag to end it and of backing up to give it a running start, I was listening to Nine Pound Hammer
on to the next tune- Fly Around My Pretty constantly putting it in rhythm, in context. on the Appalachian Swing album, trying to
Little Miss. In part three he stumbles, goes If theres still a problem, then spend a transcribe the openings to his five breaks.
over the sticky part 3 or 4 times, then backs little time working on a solution, then What was he doing after the slide to the G
up and goes over it with his one measure back up and try it in context again. He note? Sometimes it was clearly crosspick-
running start until he can do it several always seemed to be aware of the rhythm ing, other times it seemed like nothing ,
times in a row, then the whole tune again. and flow. just a pause or maybe it was just droning
Variations are very close to the first way he Ive tabbed out his version of Fly on the open and fretted G notes but very
played it, with slight twists like a double Around My Pretty Little Miss, which for softly. Listening to the body of the breaks,
stop for a slide instead of a single string years I used as a warm up tune, usually it seems like he does that a lot, that is,
slide or a syncopated timing of one note capoing at the fourth fret to make it easy. I something very definite, surrounded by
like to keep the tempo relaxed- not too fast, ghost notes or softer crosspicking. Its a
but not deliberately slow either. Id play the background or undercurrent of notes out of
first part a bunch of times, not varying at all, which the main lines would pop up and then
trying to get Clarences deep ringing tone,
Subscribe to and a good groove. Then onto the second
disappear again, like someone using a wah
wah pedal. In Nine pound Hammer its a
part, with the Shuffler-style cross picking subtle effect, allowing that G slide to trail

Flatpicking incorporating hammers and push offs within

the picking pattern. Finally, onto the third
part, with some down-up cross picking
off softly like an echo or digital delay. Check
it out, see if you hear it too, or am I just
imagining it? Wouldnt it be great if more

Guitar ala Doc Watson. Its a satisfying mix of

techniques. After a few minutes, I might
start to vary the version slightly, but not by
of us would use some dynamic subtlety like
that instead of a constant barrage of eighth
notes all at the same volume? (What would

Magazine more than a couple of notes. For me, warm-

ing up means getting my hands coordinated,
which means disengaging the brain... I love
Hamlets famous soliloquy To be or not to
be... sound like if the actor spoke all of the
words evenly at the same volume.) Think
practicing facing the refrigerator or a brick of the drama a break could have. Thanks
only $22.00 wall, it gives you such great tone coming
back, and that inspires me to try to play

per year cleaner and not worry about improvisation,

but to enjoy the tone and melody before
All Back Issues are me. I like to think that something like that
was going through Clarences head as he
also still available practiced, getting the high of his great tone
call and rhythm pouring through him.

800-413-8296 This year marks the 25th year since

Clarences death. Those of you who have

56 Flatpicking Guitar Magazine July/August 1998

Fly Around My Pretty Little Miss
Arranged by Clarence White

C Transcribed by Steve Pottier

Part 1


3 H 1 3 3
3 5 5 3 1 1 3 1 1 1 3 5 5 3
2 2 0 0 0 0 2
2 2



1. 2.

3 5 3 0 0 0 0 0 0
5 4 1 3 1 S 0 1 1 1 1 3 1 1 1 1 H
2 0 0 0 2 0 0 0 0 0
2 3 5 0 2

Part 2


& ..

.. 1 P
0 0
1 1
0 0
0 0
1 1
0 0
1 P 1
2 0 2 0 0 2 2 0 2 2 0 2
3 3 3 0 0 3 3
3 0 0 3


16 Part 3
.. ..
1. 2.


3 3
3 3
0 0
0 0
1 1
0 0
.. 0 0
1 1
0 0
H .. 0 0
0 0
0 0 2 2 3 2 2
3 3 0 0 2 3 3 3 3
3 0 0 3




0 0 3 3 3 H
1 1 1 1 3 3 3 1 1
2 2 2 2 0 0 2 0 0 0 0 0 0 0 0 0 0
3 3 2 0 2 3 2 2

Flatpicking Guitar Magazine July/August 1998
Fly Around My Pretty Little Miss (cont)


1. 2.

& .

0 0 0 0 0 0
1 1 1 1 1 1 H 1 1
2 2 2 2 0 0 0 0 0 0 0
3 3 2 0 2 3
2 3 3 3 3

Confessions of ByaJoel
Clarence Collector

For a while now, collecting the there is no authoritative discography

entire authorized recorded output of for Whites recording career. Add to
Clarence White has been something that the reluctance of many labels to
of an obsession for me. Its almost to include information on session musi-
the point of comedy. Ill come home cians and you can begin to appreci-
with a record that I would otherwise ate the challenge. Over the years
never buy in a thousand years. (it Ive written record companies, other
could be Jackson Browne, Linda interested collectors, gone to record
Ronstadt, Rita Coolidge, Pat Boone, shows, sought out old magazines,
or some cheesy looking country read old interviews and listened to
music compilation with unknown tapes to try and learn as much as I
singer and cheese cake model star- could about Clarence White record-
ing out seductively from the cover) ings. It may be nuts, but Im having
and my wife, without missing a beat, lots of fun in the hunt.
will say I know, Clarence is on it. Sometimes, a lead about a par-
OK. I admit it--Im compulsive ticular recording will fall into my lap
(my wife says I can smell records at by mere happenstance. A few years
flea markets, and Ive never seen a ago, I was talking with some people
used record shop that I didnt visit). on the Internet mailing list Flatpick-
Ive been collecting things with a L about Clarence and traded some
similar mania most of my life. From live tapes. On one of the tapes, the
comic books, to basketball cards, old Colonels introduce the song Green
magazines, concert posters, all sorts Corn as coming from their new
of stuff finds its way into my domain. There to passionate extremes. I guess thats how Capitol LP. I rewound the tape and listened
is a particular joy in collecting the recorded I feel about Whites work. Clarence White again. It was a revelation and a new record
works of a favorite artist. Over the years my is the only guitarist I can think of who to search for. I found the original Country
music collecting has been an expression of changed the course of both electric and Music Hootenanny (Capitol T2009) featur-
my mind at any given point-Ive collected acoustic guitar playing. Yet for all his talent, ing the Kentucky Colonels doing Green
various artists and all kinds of music, about most people dont know Whites work. By Corn and backing Johnny Bond on Blue
9,000 titles in all-I start and since Im some- collecting his work, I can indulge a nave Ridge Mountain Blues in a friends used
thing of a completist, I dont stop till Ive got belief that Im helping spread the gospel of record shop. It didnt hurt that my friend is
it all. In most cases, collecting a particular Clarence White. Besides, its fun too. also a huge fan of White, and puts things
artist is fairly easy. You check out the artists Collecting Clarence Whites work rep- aside for me. One time, I walked in and he
catalog and read interviews for clues as to resents a far greater challenge than any Ive handed me a copy of Winnows (A & M SP
which sessions the artist might have done. faced before as a collector. Once you get 4303) by Marc Benno, an artist Id never
Still, nothing can compare to the mission past the obvious, if out of print, Kentucky heard of. Check it out, he told me. The
I feel in collecting Clarence Whites work. Colonels records, there is Whites career as a first session player credited is White on
Like many obsessive collectors, Im given session musician to consider. Unfortunately, guitar and acoustic guitar.
58 Flatpicking Guitar Magazine July/August 1998
As a collector, Im lucky to live in the
Boston area, a major metropolitan area Joel Steins Incomplete Collection
with lots of colleges and lots of used record of Authorized Clarence White Recordings
stores and thrift shops. Ive gotten to know
most of the owners and counter people at Rusty Adams & Buzz Wilson Million Seller Country Hits Alshire S-5128
Skip Battin self titled Signpost SP 8408
these shops and, as many of them share
Marc Benno Minnows A & M SP 4303
similar collecting habits, they are almost Pat Boone Departure Tetragrammaton T-118
always helpful. One of my favorite stores Jackson Browne Saturate Before Using Asylum SD 5051
is In Your Ear, a chain of three used stores. Byrds Box Set Columbia Legacy 46773
Once I walked in and one of the owners Younger Than Yesterday Columbia Legacy CK 64848
handed me a copy of a Freddy Weller self- Notorious Byrd Brothers Columbia Legacy CK 65151
titled LP (Columbia CS 9904) with White Sweetheart Of The Rodeo Columbia Legacy CK65150
Dr. Byrds & Mr. Hyde Columbia Legacy CK 65113
on it. Weller, an artist Id never heard of
Ballad Of Easy Rider Columbia Legacy CK 65114
before, was involved with Paul Revere Untitled Columbia CG30127
and the Raiders. Produced by the Raiders Farther Along Columbia KC 31050
Mark Lindsay, features among other cuts, a Byrdmaniax Columbia KC 30640
country rock version of Freeborn Man. Gene Clark with the Godsin Bros. Sony Music Special WK 75016
Not every visit to these stores pays off. Joe Cocker Joe Cocker! A & M SP 4224
Sometimes someone will pull something Rita Coolidge self titled A & M SP 4291
aside like a Noel Harrison LP with the Country Gazette Dont Give Up Your Day Job UA-LA090
Rusty Dean Wailin Time Alshire S-5122
Byrds as his back up band, just not the Rusty Dean & others Country Hits of Today vol. 2 Alshire S-5134
version of the Byrds that interests me. Other Gib Gilbeau Cajun Country Alshire S-5121
times, Ill walk in and only find records Arlo Guthrie Running Down The Road Reprise 6346
that Ive already got in my collection. Then Hobos Lullaby Reprise MS 2060
there are the times that the guy behind Washington Country Reprise 6411
the counter decides to torture me telling Andy Griffith Songs, Themes & Laughs Capitol ST 1611
me that hes got a ton of Alshire records. Sings Favorite Old Time Songs Cema Special Products S21-18938
Kentucky Colonels New Sound of Bluegrass America Briar 109
Alshire is the label that released a number
Featuring Clarence & Roland White United Artists (import) UAS
of really cheesy country records with a 29514
variety of mediocre singers backed by a 1965-1967 Rounder 0070
studio band that included White, Gene On Stage Rounder 0199
Parsons and Gib Gilbeau. Its also the Livin In The Past Briar BT 7202
label that put out all those horrendous Appalachian Swing Rounder SS31
101 Strings records that every used record Livin In The Past Sierra SXCD 6018
Long Journey Home Vanguard VCD 77004
shop would love to sell. Still, Ive been
Monkees Missing Links vol.3 Rhino R2 72153
lucky enough to find some of the Alshire Maria Muldaur self titled Warner Bros. MS 2148
recordings that do feature White. Muleskinner self titled Warner Bros. BS 2787
Another time I was at the Music Empo- Live Sierra OXCD 6001
rium (Lexington, MA), my favorite guitar Nashville West self titled Sierra SE 4216
store, for a workshop on the history of CD of above w/ extra tracks Sierra HS 67000
Martin Guitars. The featured performer Rick Nelson Country MCA 2-4004
was Rick Starkey (with his old partner Two-fer of Country Fever and Bright Lights & Country Music
Phil Ochs Greatest Hits A & M SP 4253
Skip Gorman) who did a set of great Gene Parsons Kindling Warner Bros. BS 2687
brother duet styled numbers. After his Linda Ronstadt Hand Sown Capitol ST 208
performance, we talked about guitars and Earl Scruggs His Family & Friends Columbia C 30584
I bought his tape. Since Rick knows as Paul Siebel Jack Knife Gypsy Elektra EKS 74081
much as anybody about Martins, I asked Scotty Stoneman Live in LA Briar SBR 4206
him about my most recent purchase, a HD Tut Taylor Dobro Country World Pacific 407
28 Grand Marquis with a large sound hole. Freddy Weller self titled Columbia CS 9904
Weissberg/Brickman New Dimensions in Banjo & Bluegrass
As often happens with guitarists who prefer
Elektra EKS 7238
large sound holes, talk turned to Clarence Re-issued minus two cuts as
White. Starkey ripped off a note for note Soundtrack to Deliverance Warner Bros. 2683-2
version of Whites solo of Huckleberry Clarence White and the Kentucky Colonels Rounder 0098
Hornpipe (from Country Gazettes Dont The White Brothers Live In Sweden 1973 Rounder 0073
Give Up Your Day Job United Artists UA- Various artists Banjoman (film soundtrack) Sire SA 7527
LA 090-F). As we talked about our mutual Country Music Hootenanny Capitol T 2009
Silver Meteor Sierra Records SRS 8706
admiration for White, Starkey threw some
Features 4 tracks from Whites unfinished solo project and
trivia at me about the Country Boys and Two cuts of the Everly Bros. With White & Parsons
Andy Griffith. At the time, I had no idea Suite Steel EKS 74072
that Clarence and Roland had guested on the
Flatpicking Guitar Magazine July/August 1998
Andy Griffith show. Now I had a new thing band with me). Larrys auctions always particularly interest me for just one cut. I
to look for. I called friends of mine who yields great pieces for collectors. Hes e-mailed Rhino to see if the particular cut,
worked for video distributors to see if they had original Beatles acetates, old James Steam Engine was released on any other
had any information-no luck. I decided to Brown, Stanley Brothers and Fletcher record or if White was on any other sessions
check out a local Barnes and Noble (a book Henderson posters. And occasional Byrds for the Monkees (or any other Rhino act).
super store) and sat in the aisles looking item. I recently got, among other things, a The response was insulting. They said that
through compendiums of Griffiths show. poster of the Byrds (with Brewer & Shipley they couldnt be bothered with my request
Indeed, listed as special musical guests in opening) from Georgetown University. One and to enjoy searching on my own. Great
episode 19, Mayberry On Record, are the item that I pursued, but ultimately couldnt customer service guys. Luckily, many of
Country Boys. After years of searching, I afford was a post card to a fan signed by the bigger record shops feature the Muse
stopped by a faceless video store chain in a White and the other Byrds. Im still look- computer database that enables searches
mall one day and found a boxed set of nine ing for Club 47 (legendary Cambridge, MA of artists and gives information regarding
episodes of the Andy Griffith show on sale music club) posters featuring the Kentucky sessions. I found the cut on The Monkees
for something like ten dollars. Sure enough, Colonels, and recently met someone who Missing Links vol. 3 (Rhino R272153).
it included episode 19. used to work at the clubMaybe Lately it seems, Ive hit a dry spell. Ive
Armed with the information about More recently, Ive been using the come across a copy of the Swampwater
Griffith, I searched for the LP Songs, internet as a tool for searching out Whites album with notes by White and Parsons,
Themes and Laughs From the Andy Griffith recordings. Koji Kihara has a great web but since Clarence isnt on it, didnt feel
Show (Capitol ST 1611) for years. I got so site ( with compelled to buy it. Sometimes, Ill track
frustrated, that one collector friend taped a partial listing of White recordings. Its down a record that someone says features
the four cuts that feature the Country Boys far from complete, but its a useful tool in White only to find no trace of him on the
for me. As any collector will tell you, tapes finding about some Clarence recordings like record (McGuinns first solo record comes
dont cut it. I finally found a CD that featured Pat Boones Departure (Tetragrammaton to mind, the liner notes include the session
an overview of Griffith songs that included Records T-118) and some Ricky Nelson players, but no Clarence).
three of the cuts I wanted in re-processed recordings. I found the Boone LP (along Recently I visited a store north of Boston
stereo. Still, I was not satisfied. I went to with the Leon Russell/New Grass Revival that Id heard of, but never had the chance
a huge record convention and memorabilia live LP) at a local shop and it made my day. to visit. I struck out on any White related
show on the lookout for a variety of White I was having less luck with the Ricky Nelson recordings, though the guy who owns the
recordings. I finally got to see and hold the releases so I turned to eBay, an on line auc- place thinks he may have a Gib Gilbeau
Griffith record. The only problem was that tion of all sorts of things. Every so often I record that Im looking for in his personal
the guys selling it wanted $150 for it. Way run a search through eBays engine of cer- collection. I did find a copy of the first
more than I would spend if I wanted to tain artists (Johnny Darrell, Bakersfield Five, Greenbriar Boys record for a friend of
sleep in my house that night. He wouldnt Bakersfields Big Guitars). Low and behold, mine. Thats one of the cool things about
negotiate, so I passed on it (I did get a cool one day, the search came up with a re-issue collecting, you can always find something
Fillmore poster of the Byrds, and a live double set of both the Nelson LPs I was that grabs your attention, even its only a
bootleg Byrds CD though). looking for. It took one bid, and a few anx- gift for someone else. Meanwhile, I wait
Then a few months later, I stopped into ious weeks of waiting for delivery for Rick for the rumored Sierra box set, said to
one of my favorite haunts, Wex Rex in Fram- Nelson Country to join my collection. include 2 CDs and a video. The hunt goes
ingham, MA. The guys there have always While most people are helpful in my pur- on
been good to me. One time, when I walked suit, there have been times when Ive been Joel Steins incomplete collection of
in they handed me the re-issue copy of amazed at reactions of people. Sometimes authorized Clarence White recordings (see
Muleskinner on Ridge Runner (RRR0016). clerks dont like a particular artist, or will previous page): This list is not complete.
I already had the original release but gladly get bored (my wife wouldnt blame them) Im missing a number of the Alshire record-
took the alternate to add to the collection. when I go on about Clarences role as one ings, Johnny Darrell and more Im sure. Any
During another visit to Wex Rex, one of of the most important figures in the history additions, please feel free to contact me
the owners said he gotten some old Andy of guitar playing. The incident that stands through Flatpick Guitar Magazine. Many
Griffith stuff in, but didnt think it was what out the most had to do with Rhino Records. of the listings are available as reissues on
I wanted. Sure enough, it was, and for a $50 As some might know, Rhino has established CD with different catalog numbers. Check
bargain, it came home with me. Thank you itself as a music fans heaven, reissuing long with your local music retailer and happy
Mastercard. Since Wex Rex sells a variety out of print sessions on CD with additional hunting.
of pop culture artifacts, Ive been able to tracks and excellent liner notes. Among
get other White collectibles through them. the artists catalogs theyve released is the
When they bought the photo archives from Monkees. Since Kihara listed the Monkees
Circus magazine, they gave me two great boxed set as one of the White sessions, Id
shots of Clarence in a recording studio and a been looking for the set at used shops to
nice portrait of the Byrds featuring White. check out which Monkees record featured
Another visit to Wex Rex led me to an White. After months of searching, I finally
international memorabilia auction led by a found a used copy only to learn that White
Philadelphia collector, Larry Marion (who, was featured on only one cut. I couldnt
it turns out, played in a high school string see buying a box set of a band that didnt
60 Flatpicking Guitar Magazine July/August 1998
New Release Highlight
Baucom, Bibey, Graham & Haley
Reviewed by Dan Miller

At first glance the cover of the new Rebel was a big inspiration to me as far as starting
release Baucom, Bibey, Graham & Haley to play with a flatpick.
(Rebel-1743)four gentleman dressed in One of Jimmys early picking buddies
their best courtroom attire standing in front was a young banjo player who lived down
of a law librarylooks like it might be the the street. Jimmy says, His father and
soundtrack to a new John Grisham court- my father were good friends and his father
room drama. However, looking a bit closer, was trying to get him started on five string
if you have been around bluegrass music for banjo. Before you know it, he and I were
the past fifteen or twenty years, you might picking together. We played a couple of
say, Wait a minute, I recognize those contests and when I turned thirteen we got
guys. Didnt they play with Doyle Lawson a bass player to join us. We played as a
as the original Quicksilver and didnt they three piece for a while and then the banjo
later form their own band called the New players brother started playing mandolin
Quicksilver in the mid-1980s, and havent with us. We called our little band The
they all played for various other bands Bluegrass Buddies.
for the past ten years and arent they now Although this is not really a CD that The Bluegrass Buddies consisted of
performing together again under the name highlights a lot of flatpicking guitar solos, Jimmy on guitar, Myron Nunn on banjo,
Blue Ridge? Good job, you are right on all Jimmy does take some great lead breaks (see Louis Pyrtle (who is now known to most
accounts. Then when did they have time to his break to Black Eyed Susie on page bluegrass fans as Lou Reid) on bass, and
all get their law degrees? Well, they have 62), splits some leads with Alan Bibey, and Jeff Hooker on the mandolin. The band
been busy, but not that busy. provides tastefully executed intros, fills, and played at local contests and chicken stews
Guitarist Jimmy Haley explained that the back-up. Jimmy explains that in a four piece and stayed together for about four years.
new CD is a re-release of the New Quick- band, he would rather stay back and provide When Jimmy was a senior in high school,
silver album Ready For The Times that was solid rhythm than jump out front too often. Myron had left the group and Jimmy, Louis,
originally recorded for the Cross Current On this project he demonstrates what play- and Jeff picked up a couple of other local
label in the mid-1980s. The newly reunited ing guitar in support of a four piece band players and formed the band Southbound.
group recently went back into the studio and is all about After graduating from high school (1973)
added three new cuts to the original record- Jimmy Haley was born, raised, and still Jimmy and the band moved from rural
ing, which had since been bought by Rebel. lives near Mt. Airy, North Carolina. Living North Carolina to Atlanta in order to pursue
When the band got back together last year, in the heart of bluegrass country and coming music professionally. The group played
calling themselves Blue Ridge, they signed a from a musical family, it was natural that he regularly at clubs in Underground Atlanta
new record deal with Sugar Hill. The group gravitated towards the music at an early age. for about nine months and recorded an
did not want to release the old material on Jimmy says, Practically everybody from album on a local label.
Rebel under their new name, nor did they down around home could either play or sing, In 1974 Southbound moved to North
want to release it under their old name. or both. My dad always played and sang Carolina and played together for several
However, they did want to let people know and mom did as well. Dad and his brothers years back in their home state. In 1976 the
they were together again. Calling the album used to play in church and at parties, corn band recorded for Rebel Records. In about
Baucom, Bibey, Graham & Haley, was an shuckings and pea shellings, and stuff like 1977, Louis moved from bass to banjo,
easy way to let the bluegrass world know that. I started getting interested in it when Doug Campbell took over the bass slot and
that they are back. Since the title sounds I was about ten. Dennis Severt filled the mandolin spot.
more like the name of a law firm than a Jimmys dad got him started by teaching This new configuration toured Europe a
bluegrass band, the law office motif on the him his first few chords. He says that at first few times, played regional festivals, and
cover fit well. he learned how to play by using and thumb performed in clubs around Greenville, SC.
On this new/old release, the band is as and finger pick because that was the way In March of 1979, Jimmy Haley got a
tight and solid as ever. As you would expect both his mom and dad played. phone call from Doyle Lawson. Doyle had
from talent such as Baucom and Bibey, the A few years after he got started on the helped produce Southbounds Rebel album
banjo and mandolin work is top notch. guitar, Jimmy heard about Doc Watson. He and Jimmy says, Doyle really helped me
However, the real highlight of this CD is the says, I did not realize until I got the first out on my rhythm playing. I have always
singing. Almost every song features great album that he was blind. I was only about played in four piece bands and at the time I
three or four part harmonies and fantastic twelve years old and I thought to myself, If was doing a lot of runs and not concentrat-
high lead work by Randy Graham can be he can pick with a flat pick blind, surely I ing on the full rhythm stroke. Doyle helped
heard throughout. can learn to do it with two good eyes. Doc me out in that respect. He said, Put that
full rhythm lick in there. Play strong, play
Flatpicking Guitar Magazine July/August 1998
recording a total of five albums Jimmy continues, John Duffey and
with Doyle, the band split up in the original Country Gentleman probably
May of 1985. Doyle continued influenced my picking as much as anyone.
with a new Quicksilver configu- I always enjoyed Charlie Wallers rhythm
ration (with the Vestal brothers playing. He could put it in there like nobody
and Russell Moore). Terry, I had ever heard before. I was also influ-
Randy, and Jimmy wanted to enced by the tight driving music of Flatt
continue performing together and Scruggs.
and so they hired a young man- Jimmys first guitar was a Yamaha FG-
dolin player named Alan Bibey. 180 that his dad bought for him at a pawn
They called their band The New shop. When he was sixteen he found a 1966
Quicksilver and stayed together Martin D-21 and played that guitar up until
until the early part of 1988. the time he started with Doyle. Jimmy says,
Other than spending one Doyle told me, When you can, you need to
summer with the Bluegrass get you a D-28 to give you that good, full,
Cardinals, Jimmy took five or rich tone. In 1980 Jimmy spoke to Mike
six years out of the professional Longworth at Martin and told him that he
music business after the mem- was looking for an HD-28 with a wide grain
bers of New Quicksilver all went top. Longworth said, Why a wide grain
their separate ways. top? Jimmy replied, To me, the less lines
About a year and a half ago, per inch in a top would cause it to vibrate
Photo: Gerry Lizotte

Alan Bibey called Jimmy and more and resonate more. Longworth said,
said that a club in Columbia, You know, you are the first guy who has
South Carolina, was looking for a ever agreed with me on that.
bluegrass band. He thought that Longworth picked out an HD-28 that he
it would be fun for the old group thought Jimmy would like and sent it to him.
to get back together and perform. He has been playing that 1980 HD-28 ever
Jimmy Haley They did the gig and had a good since. He said, From the first time I picked
time, but really had no intention it up and hit that note, I knew that it had the
hard, play like you mean it. I figured out of starting a new band together. Jimmy says, potential. Over the past eighteen years it has
that with more rhythm and less G-runs, you The next thing you know people started been broken in pretty good.
end up having a tighter band. In a four piece calling and then someone put on the internet
band, there is no room for slack as far as that that we were back together. We started to If you like good solid bluegrass with
goes. I learned then that putting the fancy get calls from festivals. It kind of evolved exceptional harmony vocals, pick up
breaks and all of the runs in every measure by itself. We originally called the show The Baucom Bibey, Graham & Haley, you will
was not really necessary. Reunion of the New Quicksilver, but when not be disappointed. Also, look for the
The phone call that Jimmy received we started to perform more we decided to band Blue Ridge this summer at your local
from Doyle in 1979 was to tell him that name the band Blue Ridge. The band is festivals.
Doyle was thinking of leaving the Country now actively touring and have signed with
Gentleman and wanted to put together Sugar Hill Records. Song List: Youre The One, Black Eyed Susie,
When asked about his guitar influences, The Lantern, Im Going To Make It After All, Ill
his own band. Jimmy said that he was
Jimmy says, As far as flatpicking, my Live Again, Ready For the Times, On A High,
interested but had to think about it. Doyle High Mountain, Lead Me On and On, Our Last
said he would call back in a few days after dad was my first influence. He could pick
Goodbye, Im Country, How Mountain Girls Can
he had a chance to round up some other stuff like Browns Ferry Blues and Sweet Love, Hitchhiking to California, Feast From The
band members. When Doyle called back, Georgia Brown. He was influenced a lot by Fathers Supply, Waves of Sorrow.
Jimmy told him that he would like to take the Delmore Brothers. When I was growing
the job, but Doyle informed Jimmy that up Doc Watson was a big influence. People On the following page, we present a tran-
the bass and banjo spots were still vacant. like Wes Golding were also around the scription of Jimmy Haleys break to Black
Terry Baucom had recently left Boone area. He and I practically grew up together Eyed Susie as played on the Baucom, Bibey,
Creek and had been filling in some shows around the fiddlers convention scene. Graham, & Haley CD (Rebel-1473).
with Southbound and so Jimmy recom- Occasionally you would go to a fiddlers
mended Terry for banjo. He also recom- convention and this guy named Tony Rice
mended his boyhood friend and long time would show up. I was blown away by
band mate Louis Pyrtle for bass. Thus the his technique and I learned that he had
original Quicksilver was born. developed it from Clarence White. When I
The original Quicksilver stayed together was a senior in high school I was exposed
until May of 1982 when Lou went to work to Clarence. Clarence was one of the
for Ricky Skaggs. At that time Randy first guys that just blew me away with his
Graham was hired to play bass. After rhythm.

62 Flatpicking Guitar Magazine July/August 1998

Black Eyed Susie
Arranged by Jimmy Haley

# 4 j


& 4 J J


3 3 3 5 3 1 1 3 5 3

0 2 4 2 4 4 2
0 0 2

# j j
n J


S S 3 5 3

24 0 0 0 2 4 4 2 24 0 0 H
2 0 2 5 3 5 2 0 2 0


& # # n


0 2 3 0 0 P
3 0 3 0 0 0
0 3 3 3 2 0 0 H 0
0 2 0 2 0 2 0 0 2 0
2 1 2

No One But You is contemporary bluegrass

at its finest... --Dave Higgs WPLN Brent-
Visit wood ,TN

Flatpicking This is another CD that I will

Guitar carry around with me for
on the Web: quite a while

http:// Rebel Records

P.O. Box 3057 Roanoke, VA 24015

For Bookings Call: 615-791-4694 or email

Flatpicking Guitar Magazine July/August 1998
and overall feel are definitely bluegrass Steve Kaufman &
CD/Audio Tape Reviews
and old-time. All the tunes on Flash Flood Robin Kessinger
are well done and interesting, but Reso Star of the County Down
Tut Taylor Fandango, Hello There, Reso Man, Sleeping Bear 020398
Flash Flood and Running Wild were particularly 1-800-FLATPIK
TL1002 catchy. Most of the tunes are Tut Taylor
1627 Lisa Dr. originals, too.
Maryville, TN 37803 Beside Tut on reso, Flash Flood features Mac Puckett on guitar and vocals, Hughie
<> Wylie on mandolin, and Brooks Pearson
on bass. Curtis Burch and Beppe Gambetta
show up for the title tune on reso and guitar,
respectively. A second group of tunes,
originally recorded in 1963 and reissued
here, has Jake Landers on guitar, Rual
Yarborough on banjo, Herschel Sizemore
on mandolin, Vassar Clements on fiddle,
and Jesse Handley on bass. Theres some
nice work by the sidemen, especially Vassar
Clements who is always fun to listen to Reviewed by Dan Miller
and steal licks from, and from Herschel
Song List: The World is Waiting For The
Sizemore a great but underrated mandolin Sunrise, Clarinet Polka, Blackberry Rag, Kansas
player. City Kitty, Saint Annes Reel, Star of the County
There enough flatpicked flattop guitar on Down, Rickets Hornpipe, Chinky Pin, 16 Days
Reviewed by Bryan Kimsey Flash Flood to justify the purchase, but the in Georgia, Done Gone, Done Gone-Reprise,
real star here is Tut Taylor. If youre a fan Cattle In The Cane, Howdy In Hickman County,
Song List: Flash Flood; Hello There, Reso Man; of slower paced, blues flavored bluegrass Memory Waltz, Liza Jane, Calgary Polka,
Doin My Time; Reso Fandango; Lonesome with the resonator guitar as a prominent Foldin Down The Sheets
Dobro Waltz; Long Way To Trnava; The Last instrument youll want to get caught in this
Picking; Deep Elem Blues; That Train; The It is not often that you get a chance to
Ring Song; Abe Browns Tune; Freeborn Man; hear four Winfield winners jam together on
Riding To Rimrock; Pine Lake Picking; Picking
Peanuts; Flint River Ramble; Running Wild; Subscribe to every cut of a 17 tune CD. Of course, in
this case, three of those winners are Steve
Orange Blosssom Special
Kaufman. Here Kaufman works with 1985
As far as I know, Tut Taylor is the only
flatpicking resonator guitar player around.
Flatpicking Winfield champ Robin Kessinger in a CD
release of a 1990 project that previously
was only available on cassette. As an extra
While most reso players use fingerpicks,
Taylor uses flatpicks to drive his sliding
steel. Hes had a fairly low profile for
Guitar bonus, Steve and Robin went back in the
studio in 1998 to add a few more cuts to
the original project.
quite awhile, considering his stature in the
bluegrass world, but began resurfacing on
The Great Dobro Sessions, and then on last
Magazine Kaufman and Kessinger are picking
buddies from way back and it shows. They
pick well together and you can tell they are
years Flat Picking in the Kitchen recorded
having a lot of fun recording these tunes.
informally with Norman Blake. Now we
have a bona-fide studio album from Tut,
only $22.00 They play through some old flatpicking
workhorses, introduce some lesser known
featuring numerous Taylor-penned tunes, per year tunes that flatpickers will be excited about
guest stars, and more.
Tut Taylor isnt a flashy licks picker, All Back Issues are learning, and play a few great waltzes.
Waltzes you say? Youve always wanted
nor are most of his sidemen. Theyre far
too mature and experienced to fall into that also still available to learn about flatpicking waltzes? Check
out Steves new Homespun video! (Call
trap, and instead rely on taste, finesse, and
tone to get their musical message across. call 800-FLATPIK for details).
Theres a strong blues feels to many of
these tunes, although the instrumentation
64 Flatpicking Guitar Magazine July/August 1998
that we can learn to compose solos as the
Instructional Tape Reviews first step in learning to improvise.
At the end of the video, Barenberg goes
The Art of Flatpick Guitar through Cowboy Calypso as an illustra-
by Russ Barenberg tion of a heavily syncopated melody played
Homespun Tapes up the neck.
I would especially recommend this tape
for intermediate and advanced players.
Although rank beginners can benefit from
the first section on tone production, they
might find the later parts a bit difficult.
Of course, this kind of material is never
outdated, so they can just keep coming
back to this tape, even if it takes years to
learn it all.

1989 Homespun Tapes Ltd.

Box 694
Woodstock, NY 12498

Cook Book Reviews

Reviewed by Mike Wright Bluegrass Cookbooks - Reviewed by the

well-known eater, Mike Wright
This video is subtitled Acoustic Guitar
Musicianship, which pretty much sums Beppe Cooks!
up its purpose, and there is probably no one Recipes from the Homeland
more qualified to discuss this subject than by Beppe Gambetta
Russ Barenberg, who is well known as a
musicians musician. Here he demonstrates
some basic techniques that we can all apply
to our own playing as we strive to reach
his level.
Barenberg starts with basic tone produc-
tion, using a slow tune, For J.L.. He
begins by demonstrating pick attack and
other right-hand techniques for drawing
the best tone from the guitar. He follows
that with left-hand techniques, including
sustain, where to fret, and coordination
between the pick and the fretting fingers.
In this section, he also discusses the use of
ornamentation--vibrato, sliding, hammer-
ons, pull-offs, etc.
Quite a bit of time is spent on the For those few who might not know it,
use of timing and emphasis in shaping Beppes homeland is Italy. He says that the
phrases, including basic on-beat and off- book is primarily inspired by the recipes
beat rhythms using Old Joe Clark and of Mamma Gambetta and Zia Maria. As
Dominion Reel. Then Barenberg presents one who has had the good fortune to try a
a wonderfully irregular Cape Breton fiddle few of the recipes as prepared by Beppe
tune, Prince Charlie. himself (and even got to take part in the
In addition to these basic techniques preparation), I can testify that they are deli-
for getting the best sound out of the guitar, cious, not overly complicated to prepare,
Barenberg gives an illustration of going and definitely give the flavor of Italy. If
from a basic melody to more and more your idea of Italian food is limited to pizza,
abstract variations. For this, he uses the lasagna, ravioli, and spaghetti, these recipes
familiar Oh, Susannah. The basic idea is will certainly broaden your horizons.
Flatpicking Guitar Magazine July/August 1998
This is not just a listing of recipes, how- The Bluegrass Music Cookbook The recipes are laid out clearly and in
ever. In addition to the usual list of ingredi- by Penny Parsons, Ken Beck, detail. The sheer number of recipes makes
ents and cooking instructions, each recipe and Jim Clark it hard to decide where to start. Fortunately,
includes information about the time required they are broken down into the following
for preparation and cooking, the level of categories: Appetizers, Beverages, Soups,
difficulty, suggested wines, and, in typical Salads, Breads, Breakfast, Entrees, Veg-
Beppe fashion, recommendations for music etables, Desserts, Jams, Jellies, Relishes,
to accompany the meal. The latter ranges and Sauces. There are also both a General
from Enrico Caruso to Dan Crary, and from Index and a Recipe Index.
Italian light opera to Cajun. Each recipe is In addition to the recipes, there are
preceded by a brief personal anecdote that hundreds of photos of the various contribu-
makes the dish even more inviting. tors, with brief descriptions of them and
In addition to the 25 recipes, the book their music. There are also brief articles
contains information on kitchen imple- about the greats of Bluegrass scattered
ments, typical Italian ingredients, special throughout the book, along with a number
techniques, advice on taking an after-dinner of Bluegrass quizzes, such as Name That
nap or stroll, and a full discography of the Tunesmith. So, even without the recipes,
recommended listening. The hard-bound there is a lot of interesting information
book, with its Introduction by Dan Crary, is In contrast to Beppes cookbook, this one about bands and performers.
beautifully done on slick, heavy paper, with is as diverse as modern Bluegrass music. There really is something for everyone
colorful illustrations of each dish, usually It contains 375 recipes by dozens, maybe in this collection of recipes. Along with the
including not only the food, but something hundreds, of Bluegrass, Old Timey, and usual pies, stews, and sauces, there are a
musical as well--an instrument, some sheet New Grass musicians, from Mike Seeger to number of real old-time rural dishes, such
music, or a Doc Watson album cover. Then Emmylou Harris, and from Dr. Ralph Stan- as venison steak, fried rabbit and gravy, and
end papers are a map of Italy, including ley to David Grier. Even the deceased, like baked groundhog. I happen to know that
Beppes native Genoa. Uncle Dave Macon and Ralph Rinzler, are FGM editor Dan Millers personal favorite
Beppes charm and wit shine through in represented by family members. It is dedi- is Slades Roasted Roadkill.
every paragraph. I strongly recommend that cated, naturally, to the late Bill Monroe.
you get this book and try out every single

The The Bluegrass Guitar

Bluegrass Guitar Style Style of
of Charles Sawtelle

Charles To order, send


Sawtelle plus $3.00 Shipping and Handling

High View Publications
P.O. Box 2160
27 Great
Pulaski, VA 24301
Flatpicking Guitar
or call
1 (800) 413-8296
to order with Mastercard or Visa

In addition to the tablature and standard notation of

27 Sawtelle solos, this book also includes:
Detailed Sawtelle biography, An in-depth interview with Charles,
Section on Charles rhythm style, Charles Sawtelle Discography,
The first ever Slade biography, Notes on each solo transcription,
Dozens of photographs

66 Flatpicking Guitar Magazine July/August 1998

Flatpicking Guitar Magazine July/August 1998
Gear Review
The McIntyre Making A Winning Case:
Guitar Pickup Does Ameritage Stand Up?

by Bryan Kimsey by Dave McCarty

Ive been living with a McIntyre guitar Remember when a case was just a case?
pickup for about a year now and its high You bought a new guitar and carried it home
time to write something about it! The it and it doesnt care what kind of saddle in a simple plywood hardshell case covered
McIntyre pickup comes in several flavors youre using. The McIntyre was also more in black Tolex? Or if it was a Martin, you got
for small-bodied guitar, dreadnought, feedback-resistant than the Thinline and this nifty blue-gray plastic thermo-formed
mandolin, and other instruments. Its gave a more natural sound. The Mini-flex case where the molded-in accessory pocket
a stick-on piezo pickup that is usually gave the most natural sound of all, but it was so small you couldnt even carry the
installed inside the guitar, although you tends to emphasize whichever area of the guitar strap in it?
could also install it on the outside if you guitar its nearest. On my D-28, I use this Well, fellow flatpickers, as we all know,
wanted to. It uses a standard 1/4 plug, and to my advantage by angling the Mini-flex times have changed. Today, were in the
if you install it inside, youll either have (which is essentially a small mic on a flexi- Golden Age of Acoustic Guitar Portage
to route out the endpin to 1/2 or run the ble gooseneck) to the treble side of the guitar Systems. Youve got your vault-like, super-
cable out through the soundhole of your for a little more bite. However, on an already duty cases like the Calton, Mark Leaf and
instrument. Alternatively, you could drill well-balanced guitar like the 000-1R, the Anvil which can withstand the rigors of even
out a standard endpin, run the wires out, Mini-flex is tougher to accurately place and airline baggage handlers (for the most part).
and put your jack somewhere besides the the McIntyre gets the edge here because it Youve got beautifully crafted vintage recre-
guitar (on the strap, for instance). I picked was less sensitive to placement. When in the ation cases like the Geib cases Martin uses
up both the small and large bodied version wrong place, the McIntyre didnt overem- for its Vintage Reissue series guitars and
to test in a Martin 000-1R and Martin D-28. phasize anything, it just didnt sound very the new TKL cases, which can be ordered
The 000-1R already had a Martin Thinline good. When in the right place, it sounded in leather. Youve even got a sub-section of
Gold plus installed and the D-28 had a very good indeed. soft cases including the sumptuous Reunion
Donnell Mini-flex. I was curious to see I havent had the chance to compare the Blues bags and the workhorse Blue Heron
how the McIntyre would fare against these McIntyre to more sophisticated setups like and Colorado Case Co. gig bags.
two favorites. the LR Baggs ribbon/transducer system The other major new entry in this market
The McIntyre uses stick-on putty for favored by Sean Watkins and Brad Davis. is Ameritage, a company which has spent
adhesion and its a simple matter to lightly How well it fares against them likely the last 35 years crafting cases for fine shot-
stick the pickup to the outside of the guitar depends upon your volume, and whether guns and every other conceivable use. Now,
face to help find the best sounding area you use the pickup as your sole means of theyve entered the guitar case market in a
before sticking it inside the guitar. In my amplification or whether you supplement it big way, complete with a splashy advertis-
case, the small and large models were with a microphone. Last time I saw him, ing campaign.
well-labeled since the small one sounded David Grier was using the latter system and Touting itself as an affordable alternative
boomy on the D-28 and the large one it sounded very good (and good enough for to the heavier Calton/Leaf cases, Ameritage
sounded hollow on the little guitar. In David is certainly good enough for me!). incorporates an innovative atmospheric
both cases, I ended up with the pickup on Certainly, quite a few pros use the McIntyre monitor/control system utilizing a case-
the bass side of the bridge plate, about 1 pickups, including Jack Lawrence who mounted thermometer/hygrometer and a
behind the bridge. This location kept the helped develop the pickup. The McIntyre patented internal system intended to give the
natural balance of each instrument and still is certainly a lot cheaper than some more user control over the cases internal humid-
had plenty of bite. sophisticated arrangement and that might ity. Retail prices for the cases are around
The McIntyre compared very well to be a factor for the casual plugger-inner. If $300, depending on the model.
the other pickups and quickly became my youre looking for an inexpensive rig, you Flatpicking Guitar acquired the largest
favorite pickup. The Thinline gold tends to cant beat the McIntyre, and with the addi- case made by Ameritage, the model AME-
have hot-spots which have to be ironed out tion of a pre-amp and/or auxiliary micro- 30, which is intended for jumbo-sized and
by filing away the underneath of the saddle, phone, it can handle just about any situation. archtop guitars up to 17 wide. Ive tested
or by using a different saddle material- both And, even though theyre not intended as it for the past three months using my prized
of which slightly compromise the acoustic such, the McIntyre does a pretty good job of 1947 Gibson L-7 archtop, which Ive carried
and which are a pain to do anyway. Because amplifying my upright acoustic bass! to gigs and jams in a wide variety of climatic
the McIntyre can be moved around on the conditions.
face of the instrument before installation, The case is well-constructed and comes
its much easier to find the best spot for with six gold-colored latches, including two

68 Flatpicking Guitar Magazine July/August 1998

at the back of the case - a welcome touch. humidifiers have been around a long time, any potential bumps to the top or back. The
Only one latch locks, using a combination but most experts prefer the Dampit-type Cordura covering is excellent, and the all-
lock. Four gold-toned feet are attached at design. The box also accommodates a small around latch pattern is very secure.
both the bottom end of the case, the side bag filled with Silica gel packs to absorb The downsides are simple. The handle
opposite from the handle and at the bottom excess humidity. Given the dry weather ought to be moved to a better balance point
side to keep the case off the ground however during the test period, I had no way to test and strap hardware attached. The top needs
its positioned. Theres been minor wear in this, but the experts I contacted all felt this stiffening, although its not so bad that Id
the plating here, but nothing unusual. was a gimmick. worry about the guitar.
The case has a tounge-and-groove type Ameritage also includes both a ther- The deficiencies in the humidity control
seal around the edge to provide a tight fit. mometer and a hygrometer inside the case. system dont detract from Ameritages
On the test case, the lid did not perfectly These were very cheap devices similar to other attributes as long as you dont depend
match the bottom, however, and had to those found in low-end cigar humidifiers. I solely on this system to maintain your fine
be pulled slightly to close completely. tested both against my Radio Shack digital guitar at an appropriate humidity and tem-
Once latched, the closure was fine. A more unit, which has proven adequately accurate. perature. No case-mounted system has yet
serious complaint was the rigidity of the The small analog units in the case were solved this problem, and at least Ameritage
top. The arch in the top over the guitars frequently way off, and I heard reports recognizes the importance of this issue.
body deflected noticeable under pressure. from other users saying the Ameritage With a few minor changes, the Ameritage
This is a very wide case, but the deflection hygrometer was off by as much as 18%, case would make a strong alternative. As
was still somewhat disturbing, although making it worse than useless. Overall, Id it is, its certainly better than the average
the cases unique suspension system (see have to grade the monitoring/humidifying hardshell and its suspension system gives it
below) makes this less of a problem. system a weak effort that needs more a leg up even on the Calton design.
Ameritage uses tough Cordura nylon work.
to cover its cases. This breathable nylon So, does the Ameritage case merit its For information, contact:
packcloth material is an attractive tan color premium price tag and truly provide a Ameritage Ltd.
to resist absorbing heat, and has so far missing link between standard hardshells P.O. Box 498
been very abrasion-resistant. Leather trim and the Leaf/Calton cases? For the most Elkhorn, WI 53121
protects the cases edges. A comfortable part, I liked this case, especially the way it 1-414-723-1480
leather handle is provided, but its not suspends my delicate old archtop away from
located at the cases balance point, letting
the heavier end of the case drop too low.
At this price, the case also should come
with shoulder strap hangers, but none are
Inside, the case is lined in maroon plush
material. The neck is supported at two
points, not one as in most cases, and a large
plush pad in the top of the case provides
additional neck support. Ameritages most
innovative and effective feature is a system
of plush-covered thick foam pads that
cradle the guitar and keep the top and back
suspended away from the case a system
common in expensive violin cases. More
thick padding lines the case. In my opinion,
this is where Ameritage shines brightest.
The suspension system works very well
and is a true innovation in guitar case
Ameritages other innovation a full
humidity-control system inside the case is
well-conceived, but needs more work to be
effective. At the headstock end of the case,
a small box ventilated with brass screens
is permanently attached. Inside the box,
Ameritage provides a a Guardfather-type
humidifier a small plastic canister filled
with a hard claylike substance which
absorbs a great amount of water for release
into the cases internal environment. These

Flatpicking Guitar Magazine July/August 1998
Totte Bergstrom
and the Acoustic String Bender
All Clarence White fans are no doubt
familiar with the Rounder release The
White Brothers - Live In Sweden. The two
shows that Clarence played in Sweden in
1973, with Roland White on mandolin,
Hats Eric White on bass, and Alan Munde
on banjo, were among the last he ever
performed. Swedens Totte Bergstrom
probably remembers these shows better
than anyone as he and his band The New
Strangers promoted the shows, opened the
shows, and recorded the shows (Tottes
brother still owns the master tapes). Most
memorably for Totte was the opportunity
to hang out with Clarence for a few days
T-Shirts and watch him play up close.
Totte interest in folk and bluegrass music
began in about 1963 when his brother had
made a trip to England and brought back
records by the Kingston Trio, Pete Seeger,
and Flatt & Scruggs. Soon after being
exposed to this music, Totte bought a guitar
and a banjo and began learning how to
play. By 1969 he was playing in a Swedish
bluegrass band called Country Express.
Following his stint with Country
Express, Totte joined The New Strangers
and during the mid-1970s recorded three
albums with this band, toured extensively
in Sweden, and appeared on Swedish radio
and television.
Key Ring/Pick Holders Tottes respect for Clarence Whites
built an acoustic string bender and put it in
guitar work carried over to the electric
Tottes 1966 Martin D-18.
work that Clarence had done with the
Totte had been asking Parsons about
Byrds. He was especially interested in the
an acoustic string bender for about 15
Parsons-White string bender that Clarence
years. He received the third such device
popularized. In 1976, Totte called Gene
that Parsons ever built.
Parsons and got a hold of a telecaster
Like the electric guitar string bender,
equipped with the string bender. Fascina-
Victor Capos the acoustic bending device is activated by
tion with his new guitar led him to form the
pulling on the shoulder strap. The note can
country-rock band Moonshine.
be pulled up a half note or a full note (it
In 1979, Totte took a break from
can go from B to C#).
performing in an active band and began
In 1996, Totte got back to his roots and
doing session work in Sweden In 1984 he
recorded a self titled CD with Bluegrass,
recorded his first solo album, No Return
Etc. for Folk Era (FE1433CD). Eight of the
and then in 1986 he recorded another
fifteen tunes are Bergstrom originals and
solo project, One Man, One Voice. He
Tottes smooth, easy-to-listen-to singing
continued to work as a solo artist through
voice is highlighted. Totte plays the string
the late 1980s and early 1990s.
bender on four of the fifteen cuts.
In 1994 Totte began performing in Europe
Intellitouch Tuners with Bluegrass, Etc. and became excited
about playing bluegrass once again. His
Call 800-413-8296 enthusiasm increased when Gene Parsons

70 Flatpicking Guitar Magazine July/August 1998

Gene Parsons Acoustic String Bender

11th Annual
The guitar strap attaches to the pulling device Camp Bluegrass
July 26-31, 1998
Instruction on: Banjo, Mandolin,
Fiddle, Guitar, Dobro, Vocal,
and Bass
Instructors include:
Blue Highway
Alan Munde Ed Marsh
Gerald Jones
and FGM Columnists -
Adam Granger Orrin Star
Joe Carr
6 day resident camp located on the
The device anchors to the tailblock, just under the end pin beautiful campus of South Plains Col-
lege in Levelland, TX. The camp fea-
tures day classes, evening concerts, and
workshops. Food and lodging available
on campus. Camp instruction is for all

1st Annual Acoustic

Swing Music Camp
August 2-6, 1998
Featuring South Plains College
faculty members
The B string is attached to a rotating cam on the guitar top Ed Marsh - fiddle
Alan Munde - guitar
Joe Carr - mandolin
Learn the basics of playing
Swing Music
Texas Fiddle Backup
Cowboy Swing
Western Swing
Hot Fiddling
For information contact SPC
Continuing Education office
806-894-9611 Ext. 2341 or Paula Carr
806-894-4874 email,
The bender can be adjusted through the soundhole

Flatpicking Guitar Magazine July/August 1998
Exploring the British Islands
by Beppe Gambetta

We conclude our trilogy dedicated founded in 1967 the Fairport Convention

to the Anglo-Scottish-Irish flatpicking group and was its inspirator and main
talking about England. As in other British composer until 1971. He made his debut
countries, the acoustic guitar styles are as a soloist with Henry the Human Fly
developed basically during the folk revival and formed a duet with his wife Linda from experimental rock musicians. To give you
in the late 60s. In this period Martin 1974 to 1982. He converted himself, for a a sample of Thompson in his traditional
Carthy and Simon Nicol appear and are short period, to Islam, and then has worked acoustic way, I have chosen the piece
very active both in the folk acoustic and in as a soloist since 1983. His works are Flee As A Bird, transcribed from the
the folk-rock, whose fathers were groups marked by an extremely eclectic attitude, album Guitar Vocals. The piece is played
such as Steel-Eye and Fairport Convention. which is due to his deep competence in with a dropped D tuning and the metronome
Both Carthy and Nicol accompanied for different musical styles and to the deep regulated at 144. The main difficulties are
long time the fiddle player Dave Swarbrick, mastering of the instrument, both electric to be found when playing with a strong
developing peculiar guitar techniques. In and acoustic. In this sense we can see in syncopation and when keeping a constant
particular Martin Carthy, out of the weaving Thompson one of the unregarded talents of rhythm in the series of trippletts.
of the chords (chord weaving) can outline the popular music. Those who own the original copy may
and strengthen the melody and furnish the At present Thompson is actively col- catch, through an accurate listening, the
accompaniment as well. laborating with musicians belonging to ornaments and the shadings that Thomp-
An English prominent personage is different musical areas such as the English sons magic touch can create.
Richard Thompson. Born in 1949, he folk-rock, American singer-composers, and

72 Flatpicking Guitar Magazine July/August 1998

Drop D Tuning
Flee As A Bird Arranged by Richard Thompson
Transcribed by Beppe Gambetta

## 4 J J 3J 3
J 3J 3

j # .. # J 3 3J 3 J J J
1 3 3 3 3 3

& 4
3 3

3 3
0 1 .. 2 3 2 0 2 1 0 2

J 3 J 3 3 3 J 3J J 4 0 4 J J J J J J 3 J J 3 J
0 0 2 42 0 1
4 4 0 0 2 2 0 4 4
0 0 2 4 0 4

J J3 3 3 3 3 3 3

# # J J
3J 3 3J 3 3J J
6 3
# J J J J J J j
3 1. 2.

& # . j n#
3 3

3 3

3 3

0 1 ..
320 0 S S

J J J0 4 0 4 0 J 2 J
2 2 1 2 0 0
4 0 0 2 2 0 4 0 4 0 4 0 434 2

J J J3

J J3 3 J 3 J
40 4
3 3
3 3
3 3 3 3
3 3

# 3 Bm F#
# # . J
# J
11 3 3

3 3

& . J J J J J J # J J J J J

3 3 3 3
J 3 3 3 3
3 3 3 3 3 3

.. 3 2 0 3 2 0 3 2 20 0

0 32 02 0 3 32 3 2 0 32 02
3 3 3 024 0 02

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

# Bm

J . 3 3 ..
3 1. 2. j j
3 3

n# .
3 3 3 3 3
3 3
3 3 3

.. .. 3
0 2 3 02 2 0


24 2024 024 024 434
4 0 4 024 042 020 020
5420 5420
3 3 3
3 3 3 3 3
3 3 3 3 3 3
3 3

Flatpicking Guitar Magazine July/August 1998
Flee As A Bird (cont)
F# F#
J n j
Bm 3 3 Bm Bm
## J n
21 j j j j
3 j 3

J 3 J # 3 J # J J
3 J 3 J J J J 3
3 3
3 3 3 3 3
2 0 1 2 3 2 32 0 0 2 3 2 32 0 0 2 0 1

0 3 2 2 3 5 3 02 3 2 0 0 3

4 3 3 4

4 4 4 4

J 3
3 3 3
3 3
3 3
3 3

# Bm
26 3 3

& # J J # J . 3 J J 3 J
2. 3 3 3


3 3


3 3 3
3 3 3 3

0 2 .
J J 3J J . J J 0
2 3 2 3 2 32 2 32
20 20
33 33 33 33
0 4 0 4

3 0 0 5 4 20 0 0 542 0

3 3 3 5 4 4
3 3 3
3 3 3
3 3 3
3 3 3 3 3 3


31 3 3

3 3

3 3
& J J J J J
3 3 3 3
3 33 3 3

# n

0 0 4
2 0 0 4

4 4 20
4 4 20 0 0
0 0 2 0 4 0 0 0

6 6 5 2 0 5 4 4

3 3 3 3 3 3 3 3 3 3 3
3 3 3 3

## J 3 J J # J ..
A D D 3

35 1. 3 2.

& J J J J
3 3

3 3 3 3

# n

Play the entire tune from
the beginning before
playing the second ending

.. 3

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

6 6 5 2 0 04

3 3 3
3 3 3 3
3 3
74 Flatpicking Guitar Magazine July/August 1998
Classified ads will be accepted for guitar and musical related items @ 40 a word, 50 a word for
bold lower case type, 60 a word for bold upper case type. Please call (800) 413-8296 to order, or
send ad to High View Publications, P.O. Box 51967, Pacific Grove, CA 93950

Instructional Material: TEXAS MUSIC AND VIDEO

BLUEGRASS GUITAR David Grier slows down Wheeling, Old
70 breaks, 14 techniques, 39 tunes, $17.95 Hotel Rag, Engagement Waltz, Bluegrass
(cassette $8.95) write to: Keith Freedman, Itch, Thats Just Perfect, Eye of the Hur-
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Magazine says: Lone Soldier - $29.95. Also videos from Joe
HIGHLY RECOMMENDED Carr, 60 Hot Licks for Bluegrass Guitar
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to Blackberry Blossom,Salt Creek, 800-874-8384, Fax 806-894-2580, Web:
and ten other jamming favorites with your
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Andy Cushing, 6534 Gowanda St. Rd., GUITAR LICK CARDS: from standard
Hamburg NY 14075 to stellar, 81 licks are isolated on playing
cards. Line them up with the same chord
progression as your favorite song and voila!
Its a new arrangement! Rearrange the licks
for endless variations. Theyre inspiring!
Correspondence Course. Certificate issued
Available for mandolin and banjo too.
on completion. Beginning courses also
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order form for this and other home study
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Guitars, Strings, and Accesories:


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Flatpicking Guitar Magazine July/August 1998

Guitars, Strings, and Accesories


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76 Flatpicking Guitar Magazine July/August 1998

Flatpicking Guitar Magazine July/August 1998
78 Flatpicking Guitar Magazine July/August 1998