Premiere Issue No. 1
Contents Features
Bill Cooley • Kathy Mattea’s Road Warrior
19 18
Keith Medley • Virtuoso, Luthier, Visionary
13 12
W.C. Handy • Father of the Blues
Departments Introduction
Artist Profiles
Sight & Sound
Guitar Gallery – Petros Jumbo
98
5
7
35
58
Fingerstyle 360 Issue #1
Simon Fox
Master Workshops
It’s Raining, It’s Pouring
Adam Rafferty
Little Fingers, Big Sound
Eric Frederickson
I Hear a Bird
Tim Farrell
Backpacking with a 6-string
Tom Pender
31 37 47 41
Sunrise Guitar
52
Metro Blues
55
Bill Piburn
4
W
Hear Ye, Hear Ye, It’s a Brand New Day! elcome to the maiden voyage of Fingerstyle 360! As most of you know, I was the editor of Fingerstyle Guitar magazine for ten years. When it ended, it left a void in the world of fingerstyle guitar as well as my personal and creative life. I’d always believed in our mission, however today is a new day: It is time to continue providing an outlet to share this art form with guitarists the world over. My approach has been, and will continue to be, one of creating a magazine that highlights talent that otherwise might be overlooked by others. Personally, I only care about the music and those who create and perform it. While we certainly will feature reknown musicians, my vision is to provide a platform for talent. We will never be designed by name recognition alone. It is my hope that we will eventually provide a printed version, however until resources justify it, we will continue to be an online, downloadable magazine. The music in each issue can be heard on our website for free. The music can also be
5
heard before the purchase of the magazine. As we evolve into protected audio files, they will become downloadable. I have come to the conclusion that we, meaning fingerstyle guitarists, are a faithful and enthusiastic group; however, we are fragmented. What we do is certainly not mainstream, therefore, we need to pull together and build a community. I hope that Fingerstyle 360 can be part of that effort. I am asking for your support as well as input. Please feel free to write me at
[email protected] and snail mail submissions to me at PO Box 8120 Gallatin, TN 37066. Disclaimer: Since we are a new and independent entity, and have no connection with the former Fingerstyle Guitar Magazine, we regret that we cannot honor subscriptions or back issue orders anyone may have made with Fingerstyle Guitar magazine. We have made arrangements to continue providing available back issues of Fingerstyle Guitar magazine, but only for new orders placed with Fingerstyle 360. We thank you for your understanding.
Artist Profiles Adam Rafferty was born and raised in Harlem. He began playing blues guitar at age six, got mugged in front of his building at ten, played in a rock band at twelve, was ripped off by a club owner on his first gig at fifteen and by eighteen he was a rapper on a gold record overseas. Yes, Adam has led a life of a musician since his earliest days on planet earth. By twenty he was playing in an after-hours joint in Harlem on 137th and Adam Clayton Boulevard where the bandleader regularly drank himself into oblivion and threatened customers with a knife. Adam has certainly paid his dues. From playing in the New York City subway to concert halls throughout Europe, Adam has traveled a long and interesting journey. Today Adam is playing solo acoustic guitar and making his name known and respected around the world. His plays on YouTube number in the millions and in recent times, he has toured with Tommy Emmanuel. He is also a regular performer at festivals in Bangkok, Helsinki, Germany, and the United States. “I am so grateful for all the opportunities I have had and continue to have. I am also thankful for the hardships.” —Adam Rafferty www.adamrafferty.com
Eric Frederickson began studying the guitar at age six in order to accompany his voice. Growing up in Saint Louis he was exposed to a large a variety of music and played in several groups beginning at age fifteen. In the last ten years, Eric has worked as a soloist. He has a strong foundation in classical, jazz, blues, and rock genres. Eric currently teaches guitar in the Saint Louis area as well as performing and composing music. He also plays piano, bass, drums, and tenor banjo. “Eric is a musician who has a gift for melody. His compositions are little gems.” —Bill Piburn
7
Bill Piburn grew up in a musical family in Kansas City, Mo. His grandfather, Grant Leonard Piburn, was a violinist who played on live radio shows in the 1930s and ‘40s. His father was a professional guitarist and singer. Bill got his first guitar at age ten and began learning to play the guitar from his father. By age fourteen,
he was playing three nights a week in his father’s band and keeping hours that did not meet with his mother’s approval. He began private study with Douglas Niedt at age sixteen and, at nineteen, was selected to be a performer in Christopher Parkening’s first master class at Montana State University. Bill attended Parkening’s summer classes for the next two years and, in 1979, moved to Montana to participate in Parkening’s master class. He returned to Kansas City and began studying jazz harmony with, K.C. legend, John Elliott. Bill is the former the editor of Fingerstyle Guitar magazine. He was first published in 1995 with an anthology of fiddle tunes. Over the years, Bill has written seven books that have been published by Hal Leonard and Mel Bay. He has also been featured in Just Jazz Guitar and Premier Guitar magazines. Chet Atkins, Martin Taylor, Earl Klugh, and Johnny Smith have all given Bill high praise for his playing, arranging, and teaching. “Bill Piburn is one of the best players, arrangers, and teachers I have known” —Chet Atkins
Simon Fox is a unique voice in the acoustic guitar world. With a fluid and dynamic style, Simon brings elements of Celtic and Bluegrass music to his own melodic approach to the steel-string guitar. Australian born, Simon is currently based in Vancouver Canada. In 2006, 2008 and 2009 Simon toured with the Guitar Heaven Quartet, holding down the fingerstyle corner in front of theatre audiences across Australia. A regular performer at folk festivals in Australia and recently in Canada, Simon’s performance is a rare blend of uplifting melodies, dark aires, and a tinge of blues delivered always with a wry sense of humor. In 2008, Simon’s tune “Night Fishing” featured alongside guitar greats Tommy Emannuel, Pierre Bensusan and Martin Taylor to name a few, in the South Korean My Love My Guitar - The Best of Acoustic Guitar compilation. The Night Fishing album received acclaim among the guitar community, notably in review by Fingerstyle Guitar Magazine USA. The album’s stand-out track, “The Fisherman” was featured in the Mel Bay Publications Master Anthology of Fingerstyle Guitar Solos Volume 3. Simon’s accessible guitar technique has drawn great interest from the instructional guitar sector. In 2004 Simon recorded a DVD with Canada’s Cox-Windswept Productions, and has compiled one of the most extensive fingerstyle guitar resources on the internet. At festivals, Simon’s workshops are sought after for their focus and attention to detail on fingerstyle techniques. In 2009, Simon teamed up with New Zealand’s premiere luthier Laurie Williams. The beautiful tone of Laurie’s guitar is featured on Simon’s upcoming CD. www.simonfoxguitar.com
Kansas City-based Tom Pender was the guitarist / arranger for the NFL Kansas City Chiefs TD Pack Band for eleven seasons. He performs regularly as a soloist, with The Boulevard Band and also is the leader of the Tom Penderblast Trio. Tom has performed in various shows including Rent, Man of LaMancha; It Ain’t Nothin’ But The Blues and Eubie. Tom has performed in many jazz and rhythm and blues groups including Martha Reeves and the Vandellas, Mark Pender of the Conan O’Brien Show, O.C. Smith and Claude “Fiddler” Williams. His recordings include solo guitar as well as innumerable recording sessions as well as numerous TV commercials and radio spots. Tom served as faculty at Longview Community College for 22 years and holds a degree in Music Performance from the Musician’s Institute of Technology and a degree in Music Composition from University of Missouri Kansas City Conservatory of Music. Tom studied classical guitar with Douglas Niedt and jazz harmony with John Elliott. www.tompender.com
As a performer Tim Farrell has entertains audiences internationally. He maintains an active performing schedule, appearing in a variety of concert venues such as the Kimmel Center, Montreal Guitar Show, Carnegie Center, Hard Rock Live and many more. Tim also performs on benefit concerts, festivals, workshops, corporate events, and television programs. Tim has performed live on many radio programs as a featured artist including Echoes and Kid’s Corner, both popular syndicated shows heard on hundreds of Public Radio stations nationwide. Tim performs as a solo artist and also has shared the stage with such notable artists as Les Paul, George Benson, Jean Luc Ponty, Rick Wakeman, Alex DeGrassi, Jake Shimabukuru and many more. In addition to his solo performances, Tim offers several different concert programs that include guest artists and multimedia programs such as America The Beautiful and Hearts Content. www.timfarrell.com
8
The Life and Times of W.C. Handy W
illiam Christopher Handy was born in Florence, Alabama, to Charles Bernard Handy and Elizabeth Brewer on November 16th, 1873, and passed away on March 28th, 1958. His father Charles was the pastor of a small church in Guntersville, Alabama, while William Wise Handy, W.C.’s grandfather, was also a Methodist minister and former slave who built the cabin where W.C. was born. The cabin is a historical site that has been preserved and can be seen in downtown Florence. The cabin houses the piano that W.C. wrote many of his compositions on, including “Saint Louis Blues.” At the time of his death, he had become a legend and one of the most respected musicians of American history, often being referred to as the “Father of the Blues.” It is said that when he died in Harlem, New York, over twelve thousand people attended his funeral and over one hundred and fifty thousand spilled into the streets to pay respect as the procession passed.
Musically, W.C. was first drawn to the guitar and saved for his first instrument by picking berries and making lye soap. W.C. brought home the guitar much to the dismay of his father who ordered the instrument out of the house asking, “What possessed you to bring a sinful thing like this into our Christian home?” His father soon enrolled him into organ lessons that were short-lived, and he moved onto learning the cornet at a local barbershop.
The guitar without doubt had influence on Handy. In his biography, he wrote of his travels around Mississippi in 1902, to hear Negro musicians and, in particular, a blues guitarist he was impressed with in Tutwiler, Mississippi. It is important to note that the guitar and the banjo were the instruments most Negro musicians played and was the music W.C. often heard. He would note, “Southern Negroes sang about everything and would accompany themselves on anything from which they can extract a musical sound or rhythmical effect.” Handy also stated, “The transitional flat thirds and sevenths in my melodies were my attempt to suggest the slurs of the Negro voice.” In his early teens, W.C. joined a local band; however, he kept it a secret from his parents. At the time, he worked at McNabb Furnace in a shovel brigade. The men would sing and beat out rhythms with their shovels while waiting for the furnace to digest its ore. While working at McNabb Furnace, he practiced his cornet and learned to read music. In 1892, he traveled to Birmingham, Alabama to take a teaching exam and subsequently took a teaching position. Unhappy with the job, he quit for a position at a pipe works plant in nearby Bessemer. While
9
working at Bessemer, he formed the Lauzetta Quartet and offered music lessons. The group eventually traveled to Chicago and Saint Louis where they fell on hard times and disbanded. W.C. moved on and found better luck in Evansville, Indiana where he joined a successful band and met his wife Elizabeth Price. They married on July 19th, 1896 and shortly thereafter, W.C. joined the Mahara’s Minstrels show. The new couple traveled with the group for the next three years until moving back to Florence, Alabama to raise a family. On June 29th, 1900, Elizabeth gave birth to the first of six children.
W.C. toiled in a variety of manual labor jobs and eventually was hired to teach at AAMC in Normal, Alabama. Today the school is named Alabama Agricultural and Mechanical University. Along with Tuskegee Institute, AAMC was one of only two black colleges in Alabama at the time. Handy taught music there from 1900 to 1902. Disheartened that the school downplayed the importance of American music and emphasized European classical music, he left the school to rejoin with the Mahara Minstrels and toured the Midwest. In 1903, W.C. was offered a position to direct a black band named the Knights of Pythias, located in Clarksdale, Mississippi. He remained there until 1909, when he moved his band to Memphis, Tennessee. The band was soon making a name on Beale Avenue. It’s interesting to note that city leaders were forced to change the name of Beale Avenue to Beale Street when Handy’s “Beale Street Blues” became so popular. W.C. Handy went on to become a successful music publisher and composer while in Memphis. His most famous composition, “Saint Louis Blues,” was written in 1914. Bessie Smith’s 1925 Columbia version with Louis Armstrong is considered to be one of the most famous recordings in American history. W.C. Handy truly lived an American dream while overcoming the hardships of his personal life and the extreme racism of his day. From the seed of slavery, he honored his bloodline and rose to become an American icon. We need not ever forget William Christopher Handy. In closing, I hope you enjoy playing my arrangement of “Saint Louis Blues.” It’s a classic that will serve you well on your next gig.
—Bill Piburn
[Ed. note: Father Of The Blues, an autobiography, can be found on Amazon.com.]
Saint LouisBlues Blues St. Louis
q q=q e 3
D7/F # C #7/E # A13 # j # # # # 4 ‰ n‹ œœ œœ œ # œ œœ œœ œ n œœ . n œ œ œœ œ˙ . nœ œ V 4 ‰ œ œ œ. #œ ˙ J ˙ J ˙ 4
F 7/E
4
0
3
2
2
T A B
8 7 6
0
8
0
7 0
0
3
5
B7/F
%
#
E7 3
12
2
F7/C 3
9
E 7/B
B 7
2
8
7
b Œ # # Ó V # # n œœ œœ b n œœ D 7/C
D 7/C
2
13
7 6
2
b ‰ j œœ œ
4 3
3 2
3 4
# # # # œœ V œ 17
3
C7
b œœ œœ œœ .. nœ ‰ œ J
5
0
7
8
7
4
2
1
34
2
2
34
0
2 1
1 0
2
1 0
0
1
1
4
3 3 3 3
11
12 12
8
0
0
4
3
2 2 2
2 2
3
2
B7/A j nœ œ j ‰œ .n œ œ œ # œœœ .. œ n œ œ œ. ‰
G7/B
4 3
4
1
3
2
12 10 0 9 12 0
3
9
10
10
10
10
9
7 7 8 7
9
87
0 0
0
4
1
b b
E /D
2
0 5 4
6 5
6 5
5 4
5 4
b œœ n œœ œ œ œœ bn œœ œœ n œœ œ œ b Jœ ‰ œ œ C 7/B
3
E7
4
4
4
2
3
3
0 0 1
4 3 0
4
4
1
1
2
2
0
4
3
2
2 1
2
3
0
0
3 2
œ œ w œœ ‰ n œœ œœ b n œœ œœ J
4
1
ø b
E /B
4
E 7/D
3
5 4
6
3
j œœ n œ œ œ œ ˙œ œ # œ œ œ ‰ œ J 7
5
5
4
4
8 7
0
5
7
4
4 0 3
A13 b G B7/A B b13/A b j j j ‰ n n œœ œ œ œœ œ œ nœ #œ œ nœ #œ œ œ œ b n œœ n œ œ œ # n œœ œ œ œ œ bœ œ œ œ nœ b˙ nœ œ ‰ J 2 1
0 9 8
1
2
5
2
1
1
1
4
56
A7
3
0
2 0
1
0
1
3
C7/B
3 2
B7
0
0 1
1
2 0 3
0
4
1
1 0
0
E7
2
E7
B
0
2 0
4
2
2 0
3
4
4
7
2
œœ œ n œœ œ œ œ œ œ n œ nœ œ œ nœ #œ œ œ ‰ œ œ œ œ #œ ‰ J J
4
1
0 0
E /B
1
4
1 0
#o 7
A
5
2
2
0
0
3
0
0 4 3
2 2 1
œœ œœ n œœ œ œ œ œ œ œ n œ nœ œ ‰ œ œ #œ œ œ œ J 2 4
87
56
6
3
3
6
7 6
2
5
A7
A7
3
8 7
2 3 2
0
0
2
1
7
ø b
A7 E /B
3
4
A7/C # #o 7 3 Œ # œj œ œ œ œ n œ j œ œ œ ˙ # œ n œ˙ nœ œœ ˙ œ œ œ #œ
0
b j #### œ bœ nœ œ œ ‰ œ œ œ œ bœ V œ n œ œJ ‰ œ b œ œ E/B
4
3
89
3
3
3
A
2
˙
2
2 1
0
œ n œj œ
j nœ #œ
#
3
4 3
3
3
3 2
3
5 4
Œ # # # # œj ‰ b œ œ œ œ V œ n œ œœ ‰œ œœ # œ œ œ J J C7/G
5
0
6 5
E 7/G
E7
1
2
1
#
B7/D
j nœ œ # œ˙ œ œ n œœ . œ œ œœ œœ œ n œ n œœ n œœ œœ # œœ ˙ œ. nœ œ œ œ #œ œ J
E 7( 9)
3
#
W. C. Handy
0
4
5 2
6
7 4
5
0
6
œ bœ œ œ nœ œ œ œ n œœœ œœœ ! nœ # œ n œ ‰ œ œ E7
4
1
0
3
4
1
2 1
1
1
0
7
7 6 0
4
6 0 5 5
2
8 5 8 5
5
6
Public Domain. Arrangement © 2009 Bill Piburn
10
b
##
B7( 5) D
b b œ nœ œ œ œ œ œ œ ˙ . #### œ bœ nœ œ œ œ nœ j œ œ œ nœ œ ˙ ‰ œj # œ b œ œ œ œ œ V œœ nœ œ n œ œ ‰œ œœ bb œœ œ # œ œ œ œ n œ‰ n œœ n œœ œœ b n œœ œœ œ œ œ J J A 7 3 E 7/B
F7/C 4
3
3
A7
4
4
4
1
3
4
4
2
2
E7/D
E 7/D
3
2
2
2
2
3
21
1
0 0
8 7
7
8
#
#
5
6
5
8
7
8
0
2
3
2
0
2
23
2
2
j œ 3
5
2
5 4
5 4
2
2
2
7
2
1
1
8 9 9 8
0
5
8
0
6 5
7 6
A13 G G13 E13 F D
11 10 11 11 10
78
0
3 0 5 3 0
œ n œ b œ œj œœ n œœ œœj n œ n œœ n # œœ J J 3
3
11 12 10
7
5
1
1
0
2 2 3 2
7 11
9
2
F 7
25
3
5 0
8
# j B7 ‰ ‰ n œ œ œ œ œ œ n œj # œ Œ nœ œ #œ œ n œ J œœ œ œ # œ œ Ó
# # # # n œœ . œ œ œ œ . b œ . n œœ œœ V nœ . œ œ J 5
5
56
5
4
C9 ( 11) B9 ( 11)
3 3 4 3
7
4 7
2
3
4
7 6
4
3
3
2
6 5
5 4
#o 7 œ bœ œ nœ œ œ œ A7
3
j œœ ‰ œœ œ œ
3
4
A
4
œ
7
5 6 6 5
5 4
6 5
#œ 2
5
8 5 8
o bo 7 C 7 IV j œ œ œ œ œ œ œ # œ œ b œ # n œ œ œ . n # Œ œ œ œ œœ œœ . œ œ œ b œœ œœ œ n n # œœ œœ Ó œ V # # n œ b œœ œœ œœ œœ œ œ nœ œ ‰ bœ œ bœ œ œ œ b œJ n œ‰ œ œ ‰ œ J œ. œ J J 2
1
4
B7 VII
C7 E B VIII
6
7
E-
3
VII 3/6
IV 4/6 A-
4
4
0
4
5
6
E
3
4
3
4
1
1
2
1
29
0
7
9 8 7
o
8 7
8
7
7
j ‰ œ œ œ œ œ
# V ˙˙ b œ œ 33
5 6
5
5
0
œ œ ˙.
0
C7/B
œ b œœ
œ 5
7
7
7 5
7 6
V
A 7
7
8
b
7
5
6
0
7
7
8
8
8
5
6
575
6 5
7 6
5
6 5
4 2
3
ww œ œ œ œ œ œ œ 3 let ring
3
4
2
0
0 2
0
VIII 3/6 o o7 b Gb 7 3 j œ œ bœ ‰ œ # œœ œ œ œœ œœ Ó Œ œ œœ # œ œœ œ œ œœ œœ œ œ œ œ b œœ # Ó b œ V #œ œ nœ Œ œ œ œ œ b œ œ œ œ œ n œ œJ ‰ b ˙ ‰ œ œ œ œ. œ œ J 3 5
5
5
5
VII B7
5
E-
4
0
5
VII 3/6
IV 4/6 A-
E
3
2
4
11
2
3
2
7
8 7 7
8
7
7
5
7 5 0
0
7
5
6
0
0
5 5
6
7
7 8
8
5
7 5 8
4 5 6
7 10 8 9
8 10 11
œœ œ J
4
4
37
#
B7 D
4
1
7
4 4
4
E-
0 0
8
2
5 7
6
8
j ‰ œ œ bœ œ nœ œ œ œ œ œ b ˙˙ œœ œ ‰ J
œœ
2
7 5
B7/A
5 7 6
6
5 5
2
3
1
7 7 6
V j C7 j j œ bœ œ œ . œ œ œ ˙ # œ ‰ ‰ V bœ b œœ œœ b œœ œœ b œ œœ b œœ ˙˙
j ‰ œ œ bœ œ nœ œ œ œ œ b ˙˙ œ œ B7
3
2
2
3
2
41
1
1
2
!
7
6
b
6 5
65
6 5
5
8
6 5
6 5
7 6
Œ # œœ # œœ # # # # œj ‰ n n œœ # # œœ # Œ œ V ‰ œ #œ Ó ‰ bœ œ œ œ œ œJ J C 7/B
B7/A
2
E
4 2
2
45
3 2 7
6
V
####
4 3
0 0
6 5
2
3
!
575
6 5
3
0
8
5
7 7
5
7
0
4
1 2
3 2
3
j j œœ ‰ n n œœ # # œœ œœ ‰ n n œœ # # œœ ‰ ‰ œ œ œJ œ œ œJ
j œœ ‰ œœ œ œ n œ œ n œœ n œœ œœ œ œ œ œ œ #œ œ œ œ
0 0
0 0
3 3
4 4
0 0
o A# 7
2
0
3 3
0
4 4
2
0
2 2
4
3
1
2
0
V 4/6
E m9(b5)
3
0
4
2
1
b b
3 2
2 1
0
4
b b
E 7( 5)
1
b b
A 7( 5)
0
2
2
3 4
0
3
b b B7(b 5) #### Ó . œ nœ V b b œœ n œ œ œœ bœ nœ œ Œ 3 . 3 G 7( 5)
2
1
3
4
3
1
3 2
3 2
2
E7
2 3
2 1
4
0
4
3 2 0
5 2 2
0
0
2
6
3
3
5
B 7 II 3/6 A
7 6
0 0
7 6
5 7
34
2
2
44
7
4
2 1
2 3 3 0 2 2 0
3
4
˙ œ œ #œ œ œ 1
1
3 2
j œ ‰ b œœ Ó n·
4 0 4 5 3 6
1
#
0
4
0
1
3
5 4
5
4
4 3
D. S. al Coda b B j VIII VII j œ œ ‰ œ œ œ b œ œœ œœ .. œ bœ nœ nœ œ œ œ œ ‰ J 5
4
3
C7 B
4
2
6
7
5
0
8 1
7
9 8 8 7 8
7
7
1
2
2
3
Harm.12
œœ œ ·
ww w ·
12 11 11 <12>
1 2
4
2
0
3
XI 3/6 E 9 ( 11)
E B
0 1
2
3
6 5
6
4
3
1
1
3
4 3
3 3 0 2
0 0
2 0
A7 G F II
2
2
1
4 3
2
4
4
# bb 3 A E7 j j œ j ‰ b n œœ œœ œ œ œ œ œ n œœ œ œ œœ bn œœ ‹ œ œœ # ‹ œ œ œ œ œ nœ œ œ #œ œ œ œ œ œ nœ #œ œ nœ œ ‰ œ œ œ J
Em9(b5)
58
3
II
# # œ œ œ œ n œœ n œœ œœ V # # œœ n œ œ #œ œ œ 4
2
5
2
2
A7
4
2
B7
1 0
3
5 2 2
0
4
4
2
D 7( 5)
3
3
2
3
0
E7
4
4
0
fi
2
6
b
B7( 5)
nœ œ œ œ œ œ nœ œ œ œ œ œ œ œ w nœ b œœ œ n œœ œ w œ œ œ n œœ œœ œ œœ œœ b n œœ n œ b œ n b œœ n œ œ b œ œ œ #œ J ‰ œ œ bœ ˙ nœ ˙ œ
01
Coda
4 4
7 6
II 4/6 A7
j œ nœ #œ
49
53
3 3
0
5
#
w n œœ œœ œ # œ n œ œ #œ œ p
5
8
F
4
!
p
5
E-
0
12
Keith Medle
Twenty-seven and Counti
ey
ing
eith Medley is one of those rare
K
people who can design and build a
house or a guitar. He is a history
buff, a bit of a theologian, a family man, com-
poser, and overall creative thinker. Jokingly I
often refer to him as a renaissance man. The
design and construction of his twenty-sevenstring guitar has opened a world of musical
possibilities and inspired Keith’s imagination
to the listener’s benefit.
By Bill Piburn 14
A lot of people could draw an idea but not many could actually build that idea. How did you learn your craft? I grew up in a work environment – farming, pouring concrete, and hammering nails. Dad and I started building a house from the ground up when I was about eight years old. I grew up around tools yet at the same time I played guitar. Both skills really developed together which gave me the audacity to think I could build my own guitar. It wasn’t a far stretch for me to consider the idea. I understand that your dad was a very skilled woodworker.
Yes, I learned a lot from him. Most importantly, I learned to keep my hands away from sharp moving objects! (Laughter) Did you learn to measure twice, cut once?
Absolutely! (Laughter) My dad gave me permission and he included me. He never said, “Hey boy, let me do that.” He made it a lesson.
It became that but I don’t think he intended it as a lesson. I think he just thought of it as something normal you do with your son. Dad would explain things as we worked.
I have known many talented musicians, however you are the only one that has designed and built their own instrument. Tell me about your 27-string guitar and how it came to be. Back in the ‘70s while I dreamed about my ultimate car, I would also dream about my ultimate guitar. Actually, I was more passionate about the guitar so I started drawing my dream guitar. I imagined what I could do with multiple strings. The first one I drew had four necks! It was wacky! I still have that drawing. Then about 1980 I saw a picture of Michael Hedges playing a harp guitar...it was the first time I had seen one. That gave me a snapshot of what I was looking for. It was more practical than the four-neck thing I drew. You have the freedom to exaggerate when you’re a kid. Michael played a Dyer harp guitar built in the ‘20s. I didn’t know of or see a Gibson harp guitar until three or four years later. Between the Dyer, the Gibson and seeing a double neck guitar gave me the foundation. 15
I remember one time when I was about twelve, he had gone into the house for something. I was too young to be using the table saw but I looked at it and thought, “I’m going to cut something!” As if he couldn’t hear the saw from inside the house! He came back out said, “Damn it boy, I’m going to tell you one time: there’s no huge demand for one-handed guitar pickers.” (Laughter) Then he bent over, turned the saw back on, and walked off. I didn’t cut another piece of wood—I shook for thirty minutes. Looking back I understand that moment was a turning point. It was his way of giving permission. If he had gotten all over me, I may not be doing what I’m doing today. It gave me a new sense of courage. What was your first venture into building an instrument?
At first, I didn’t make a whole guitar. I had an old Harmony that needed a neck so I made one. I still have that guitar. I even inlayed my name on the headpiece in pearl, “K. Medley.” It was a single-cutaway thin body with F holes. I couldn’t decide on what pick-up so I put in a Tele, Strat, and a humbucker. That way I had everything!
Sounds like the guitar you made me twenty years ago. That’s right! That’s what we did on your guitar. To be honest I was repairing guitars before I built them. I remember when I was a teenager I took my guitar to a shop to fix a buzz and they trashed it. I swore I would never let anyone touch my guitars again and I haven’t. That’s when I began repairing my own guitars. The first guitar I built I freehanded it out with a coping saw. I cut the neck out with my buck knife. I still rough out necks with it. I guess you do that between killing wild game with it. (Laughter)
Well, you can field dress a deer, come back in, and rough out a neck! (Laughter) Since you came to building through repair, I would think it may have been an advantage seeing many different problems. Yeah, that may be true. You can formulate a pattern when building and repeat it every time. When you are dealing with repairs, often you are improvising. If you have three acoustic guitars that all are in need of a neck set, you are really dealing with three different dynamics. Since you have the ability to build, are you often tempted to start a new project? Yes, all the time. I have two or three going right now. It’s what I hear that drives the build. It’s not because I just want to add more strings. I’m looking for options that will allow me to play what I hear. The 27-string has gaps between low G and D, the two lowest strings. I’m going to fill that in with E – F#. I also want to add Bb between the A and B on the bass side. I’m going to end up with 33 strings. It will have a wider range on the high end as well. Right now the highest string is B. I’m going to add three more strings on the top side and take it up to an E two octaves above an open E on a standard guitar. In others words E at the 24th fret. The added strings on the top will be C#, D and E. The C# could also be tuned to C of course. What is the lowest note?
It’s D, an octave below a detuned D on a guitar. I will not take it any lower but I’ll fill in that gap.
If I were your booking agent, I would charge per string! (Laughter) Please run down the tuning as it is now. Bass Strings: D – G – A – B – C – D – E – F# – G Guitar neck: Standard unless in DADGAD Harp side: E – F# - G – A – B – C# - D – E – F# - G – A – B
How would you describe your music?
It’s very personal. Most of it arrives as a backdrop of life experience. I compose as those moments show up. I have discovered that my emotions in those moments are common to most folks – love, loss, fear, joy, nature and relationships. I draw inspiration from moments of surprise, a moment of clarity or being moved when I observe struggle and triumph. As far as genre, I will leave that to the critics. continued... 16
Detailing Ebony Tailpiece 2
I’m currently working on a composition that has me enthralled by a coastal town in the Ukraine. A fan sent pictures of his hometown with a description of the people who live there. I could hear the music as the imagery began to surface.
Who inspires you musically and in general? People who embrace what they love and do what they love with passion inspire me. They see what they do as a gift rather than a spotlight on themselves. Musically I am inspired by anyone who has a knack for combining musical expression with imagery and theme.
Do you consider the creative process of building and design to have a relationship to the creative process of music? Indeed! However, the music comes first. The instrument follows. Music establishes a range; the instrument simply makes that range available and manageable. Recently you received national and international attention that unfolded in a matter of days. How did this happen?
17
Neck locked in vice while hand-shaping. Note body in the background
My nephew contacted the local Fox station in Owensboro, Kentucky and told them about the Dry fitting the neck b twentyseven string guitar I built. They sent a reporter down on a Sunday afternoon who interviewed me and had me play a little. I really didn’t think a lot about it. It aired that night, and
before final shaping
the following day CNN and CBS picked it up nationally. The next thing I knew every network in every major city ran the story. It was seen in Los Angeles, Atlanta, New York, Saint Louis, Kansas City, Denver, Seattle, Chicago and more. I Sides prepared right before attaching the back even heard that it was seen in London and Saigon! Overnight I got close to a half million YouTube plays! All of a sudden, I could not keep up with the CD sales. Basically, millions around the world saw you.
Yes, and if I would have known that, I would have worn a different shirt! (Laughter) Ricky Skaggs saw the video and sent a nice message. I think we are going to meet for lunch sometime. I was also surprised that the actress Alyssa Milano sent my video out to her followers on Twitter. I am now trying to find a way to tour. I hope to take advantage of the recent attention. I wish you the best with your music. Thanks, it’s an adventure.
For more information about Keith and/or the Harp Guitar, go to: www.keithmedleymusic.com
Shaping the black spruce back braces 18
California Dreamin’ B
ill Cooley grew up surrounded by the beauty of Santa Barbara, Calif., and the t wanging guitars of the 1960s. Music found its way into his soul and he soon knew it would be his life’ s work. § Since 1984, Bill has toured with artists such as Merle Haggard, Reba McEntire, Alan Jackson, Hal Ketchum and Kathy Mattea. Bill lived his California dreams and followed his heart. By Bill Piburn
“Go confidently in the direction of your dreams. Live the life you’ve imagined.” —Henry David Thoreau
20
Bill Cooley
Tell me about your early years in California, growing up, learning to play the guitar.
Musically, I came of age in the early sixties. In Southern California, surf music was the big thing. It was guitar-based music. Surf bands had at least two guitar players, sometimes three. I began learning the music of The Ventures and Dwayne Eddy. I was also a big fan of The Beach Boys. I was in the sixth grade when I got my first guitar. Then the Beatles hit just as I was entering junior high. A couple of friends and I would take our guitars to school. When we played Beatles tunes, we had the attention of all the girls. That was a big motivation! Every one of us worked to be the first one to know the next Beatles tune. Who was your first teacher?
My first teacher was a guy named Russ Johnson. He was wonderful. He taught at a music store in Santa Barbara. He was a very popular teacher, always totally booked. My dad talked him into opening the store early on Saturday mornings because that was the only time he had. My poor dad never had the opportunity to sleep in on Saturday. Russ was a great teacher. After a while, he said that he had taught me all that he could and that it was time to move on to another teacher. His name was George Mamlakis and he was a great teacher as well. He was in one of the more popular surf bands in Santa Barbara.
George finally said that he had taught me all he could and suggested a guy named Bill Thrasher. Bill Thrasher was a jazz guitar player and a good friend of Joe Pass. He wrote the Joe Pass Guitar Style book—you know, the orange book with the line drawing of Joe’s face on it. Back in the day it was considered the guitar bible. They put Joe’s name on it; but Bill wrote the book. I was about college age
21
when I started taking lessons from Bill. It’s safe to say that I would not be making a living as a guitar player if I had not met Bill Thrasher. Did he open a lot of doors for you?
He inspired me. He became my mentor, my guru. I fell under the spell of this man. He was a brilliant player and a brilliant teacher. He could show you more in half an hour than you could learn in a year. I still look at his lesson material. I was his last lesson for the day. My lesson ended about eight or nine o’clock in the evening and we would go to the cafe around the corner and talk until the wee hours. Bill was a bit of a philosopher, as old jazz musicians can be. If Bill had an opinion, it soon became mine. I absolutely followed this guy. He would give you his opinions of music and his opinions of life. He was always encouraging me. One day, after one of the gab fests at the cafe, we were walking back to his apartment and he said, “What are you doing?” I asked him what he meant and he said, “What are you doing with your life?” I was really dedicated to playing the guitar; but there was no rhyme or reason to it. I didn’t have a plan. He told me that if I had plans of making a living playing the guitar, I was not going to get there the way I was going. His voice had a hard edge to it. It shocked me. He said that I could do anything I wanted to do with the guitar and the sky was the limit but I was not taking it seriously enough. He said that every professional musician he had ever met took at least a year out of their life and did nothing but practice and study—no full time job, no girlfriends, no social life. They simply put themselves away like a hermit. They dug in and practiced religiously every day. It’s like a gauntlet; it’s like a crucible. When you come out on the other side you own your music in a way you can’t otherwise. Once I got over the shock of the way he talked to me, I was relieved and grateful. Number one, he told me that I could do whatever I wanted. Basically, he told me that I had it but, that I had to work harder. I knew how to do that. I spent a year of my life doing nothing but playing the guitar. To support myself, I taught at a music store on Saturdays all day. The other six days of the week I sat in my room and played guitar. I studied Bill’s writings, chord work, arpeggios and immersed myself in it for a year. Other than the one day of teaching to support
myself, I had no social life; I had no girlfriend, and played no gigs. At the end of that year, I got a job playing five nights a week at a bar. I took what I had learned and applied it on the bandstand. I learned a lot on that gig. You can play something in your room that sounds great and then when you get on the bandstand it doesn’t work. I had five nights a week to hone it into something. After that, I was on my way. There was a band coming through town that came in for a beer one evening and heard me play. I got hired. They were based out of Redding, California. They were the house band at a resort on Lake Shasta owned by Merle Haggard. Merle would come in often and sit in with the band. Eventually he started inviting me to jam sessions he had on his houseboat. It was docked at a marina just down from the club. I would finish my gig at the resort at 2:00AM and go to the boat. The jammin’ would still be going on. You never knew who would be there. Tiny Moore might be there, Jimmy Belkin, Norm Hamlet, and Freddie Powers. There I would be, jammin’ with those guys. That led to the formation of a band. Merle was trying to promote Freddie Powers as a singer. He put a band together called The Butter and Egg Band. It was all old swing stuff. I was in that band with Merle along with Biff, his drummer, Tiny Moore, and Jimmy Belkin. Later, I put a band together for Merle’s daughter, who was a singer. In ’84, I went out on the road with Merle. His daughter would open the show and I played in that band, and then I would back Merle in his show.
about that and I listened—an important thing to know that I’ve since passed on to my son. No matter what band I’ve worked with, if we talk about music it’s about the groove, where the track is sitting. Is this song laid back or do we want to push it forward a little bit? At sessions or in concerts, that is the topic. Tempo is one thing, but everybody’s time is slightly different. If you play with enough musicians, you begin to recognize their individual tendencies. Where are we going to meet and make music out of it? It’s all encompassing and all musicians talk about it. That point was driven home to me in the early eighties by Merle. He would very patiently play a record and show me what he was talking about.
“Time is an elastic thing and has a
great effect on music. There is the beat —
you can play right in the center of it or
you can play slightly
Was this The Butter and Egg Band?
ahead or slightly
That is very impressive.
It is. He is just as alive about music as he was when he was twenty. To this day, he is eaten up with music and he loves guitar players. In the early eighties, George Benson was it. He talked about him all of the time. I wonder if George Benson ever knew that.
I don’t know. Of the Nashville players, he idolizes Grady Martin and Reggie Young. He just loves musicians. Back then, he was a little tired of being Merle Haggard. But play an old Floyd Tillman song; he is right there.
Tell me how you ended up coming to Nashville.
Living in Redding was isolating. I wanted to go to a music center. By that time I was married and I had lived in L.A. long enough to know I did not want to raise my family there. I picked Nashville. I knew one person, a guitar player named Jimmy Olander. I called him and told him I was moving to Nashville and I was coming out there first to get a feel for things before I moved my family. He let me sleep on his living room floor for a couple months. He had just joined a band called The Tennessee River Boys and wound up playing at Opryland. A couple of years later they changed their name to Diamond Rio. I owe Jimmy big time.
behind.”
No, that was The Strangers. The Butter and Egg Band was just a little California tour. It was short lived because Merle wanted to put Freddie up front and we were just back there playing. They tried to explain to the promoters, this is not the Merle Haggard Show. This is Freddie and Friends. Of course we would get to the gig and the marquee would read, “Tonight, Merle Haggard.” Everybody would come in wanting to hear “Okie from Muskogee,” “Fightin’ Side of Me.” It wasn’t that. We did that tour and then went back to The Strangers. Freddie came out with The Strangers too. That was in 1984. In 1985 I moved to Nashville.
Before we talk about living in Nashville, let me ask you a little bit about Merle Haggard. I remember you told me that he would often play records for you and make comments about the music. Please tell me about that and what it was like hangin’ out with him.
It was like a graduate school in music. He knows so much about music. He put on those Bob Wills records. As the record was playing, he would point out to me, “That’s Junior Bernard on guitar. He’s pushing the beat.” He’d point out the fiddle player and tell me that he was kind of layin’ it back. Merle would point out to me the push and pull in the groove. Time is an elastic thing and has a great effect on music. There is the beat; you can play right in the center of it or you can play slightly ahead or slightly behind. He would talk to me
Gary Lumpkin also opened his house to me. I slept in his guest room for another month and a half. It was about three months before I was able to scrape together enough money to move my family here. After they arrived, it was still a struggle. Luckily, I got the Reba gig. Financially, it was just in time. Jimmy is a very unique player isn’t he? Oh, yeah. It takes courage to decide you are not going to play all styles. I am going to play this certain style. I am going to put my energies into this and perfect this. It worked beautifully for him. It is not always the best way to get work. It could backfire. It worked because the group was successful.
continued...
22
Bill Cooley Yeah. However, as a working musician you need to know many styles. You have to think that way because you don’t know what the next gig is going to be. Jimmy just took his own thing and ran with it. I make my living as a sideman. You have to be versatile if you are going to be a side man. If one thing dries up, you have to do something else. I dig deep for what I really want to say on my own records; however, as a sideman, I pride myself for covering a lot of ground. That suits me. I tend to get a little antsy if I continually play the same thing. That is what attracted me to Kathy Mattea’s music. I had my ear tuned to Kathy long before I worked for her. I could sense that she had a wide range of musical interests.
was there; I did it all. I needed to let people know about me and to hear me play. I did that for a couple of months and began to get a few gigs around town even though they didn’t pay much. I started doing a Wednesday night jam session at a place called Tracks. There was a revolving cast of musicians who were in the band. Ray Flack was one of them. We played together on any number of nights. There were two guitar players, maybe two steel players, Bruce Bouton and Bucky Baxter. Whoever heard of two Tele players and two steel players? We just did it. Everybody got up on stage at the same time. Reba McEntire was looking for a guitar player and Bruce Bouton recommended me. Reba and her band was in town that Wednesday night so they came out to hear me. They didn’t hire me that night; they just came in and left. I thought that was the end of it, but they called two or three days later and hired me. They were already back out on the road driving from Oklahoma to Pennsylvania. They flew me to Cincinnati and picked me up. The next night in Pittsburgh, we played in front of twenty thousand people. That is a quick introduction to the gig.
It was incredible. By then, I had moved my family to Tennessee and I was quickly running out of money. I was considering selling some of my guitars to pay the rent. I was on a financial ledge. The week before I got the gig, I was down at Gruhn’s with guitars in hand. I didn’t sell them but I got them appraised. A week later, Reba called. That was a life-changing moment. I can imagine the elation of getting a gig with a high profile artist. It meant I could pay the rent. The kids were starting school and you know all the bills that entails. Not to belabor the point, but I didn’t know what I was going to do.
You know, that is really putting your heart and your life on the line. It was a close call. I will never forget that feeling. I was with Reba for three and a half years. That was ’85 through ’88 and she worked a lot. We were gone for a month at a time or longer. In ’86, she did 190 shows. Factor in the travel days and I was gone a lot. That’s hard on the family. Oh yeah, what a sacrifice.
Before we get into the career with Kathy, let’s go back to the sleep-onthe-floor days and hear how you got yourself started in Nashville. I just got out every night and sat in anywhere they would have me. I treated it like a job because my family was still in California. I was motivated to get my name around quickly. There were clubs in town where musicians would gather and jam until the wee hours. I
23
Yeah, there is that double-edged sword— I was so glad to have the gig, but I was gone from home all of the time. Luckily, my wife is incredible and very capable. She was here with four little kids all by herself. You owe her big time.
I sure do, for the rest of my life. That was her gift to me.
You must have really missed the kids. That was hard. It wasn’t until I had finished that gig that I realized how tough it was. I was gone; she was here. She made it all work and put on a brave face so I would not worry. Later I realized I really owed this woman. That gig ended in ’88. Reba wanted a complete change and she let the band go. It happens. That’s the music business. In ’89, I went to work for a guy named Alan Jackson. He was just playing clubs. He had signed a publishing deal but he didn’t have a record label. We would get in the van and drive to Little Rock and play at a club called Bad Bob’s. We were doing all of those songs that later became monster hits for him. At the time, nobody knew him. You know, you go play a country bar and they want to line dance. When he would do something like “Here in the Real World,” he would empty the dance floor. Then we would have to do something with some tempo to get the crowd back.
What is it like trying to keep together the repertoires of two different artists? The repertoire is easy. It’s the scheduling that can be difficult. For five years it worked amazingly well. There was another guitarist that Hal would call from Texas that worked with The Flatlanders. He would call the two of us and one of us always seemed to be available. Hal is just crazy enough to do something like that. He’s a go-for it kind of guy. I loved playing with him. Nothing was ever planned. He would come in, show us a song that he had written that afternoon, and we’d go out and play it. He reminded me of Merle in that sense—fearless. You also work in the studio with Kathy. What’s it like working on a recording project with her?
Was this right before he broke?
Yeah. We were at Douglas Corner playing a showcase one night and the next day he signed with Arista Records. I’m in a video that he did, but it was a song that didn’t go anywhere. It was called “Blueblooded Woman and a Redneck Man.” The next song was “Here in the Real World.” Right about the time he released that song, Kathy called and asked if I would be interested in auditioning for her band. As I said before, I was aware of her. I really liked her voice and her choice of songs. I could tell that she was very inquisitive musically. She called me personally to ask if I would audition and I jumped at the chance. Had she heard you somewhere?
She had heard of me via Nancy, my wife. Nancy was doing stagewear for artists. She was doing beaded and hand-painted stage coats. She started doing it for me and pretty soon she was doing it for everybody in town at that time. She has decorated coats for everybody from Patty Loveless and Kathy to Trisha Yearwood, Steve Wariner, Hank Jr., and LeRoy Parnell. It was a wide range of people. Kathy knew Nancy because Nancy had done some clothes for her. That’s how she came to call me. That was January of 1990, twenty years ago. So it’s like family now.
Yeah, we are great friends. We know each other’s musical tastes and leanings. I kind of know what she is thinking, when it comes to music and she knows what I am thinking. Sometimes we finish each other’s musical sentence. It is a very close bond.
Sometime along the way, you played with Hal Ketchum, too.
That was in ’98. Kathy wasn’t real busy and I subbed for his guitarist. That ended up being five years of working with Hal when Kathy wasn’t busy. Kathy was always the primary gig. Hal would hire me to go out when I was available.
One of the great things about working with Kathy is that, at this point, she trusts me. She did a record a couple of years ago, Coal. That record was developed from going over to her house and researching songs. She would find the tunes she liked and I would help her to make them her own. I would do some arranging, but Kathy and I go back and forth with our ideas as we develop the approach we want. continued...
24
Bill Cooley
Absolutely. There is very little turnover in her band.
Are there any topics you would like to throw in about life on the road? Be a nice guy and be somebody you would want to sit next to on a tour bus. Be considerate of others. A sideman gig also requires that you be musically versatile, even if you are in the same band for twenty years. Kathy is versatile. One record is folk, the next one could be more pop, and the third one could have a Celtic flair. Hal is all electric rock. When he is up there and turns to you, you better take the song up a notch.
Does Kathy ever surprise you and pull out a song you were not expecting?
She doesn’t write most of her material. Most of the songs she finds. In that regard, I know what she is looking for. Together we find a way to arrange the song so that it’s hers. We’re getting ready to do that same process for her next record. We’ve had a few conversations and she is gathering material right now. Is there a theme to that record?
I think it will be similar to the Coal record. I don’t think it will be a collection of coal mining songs; however, I do think it will be Appalachian based. Marty Stuart produced the Coal record. We just sat in a circle, Marty on mandolin, Byron House on acoustic bass, Stuart Duncan on fiddle, and me. We did it pretty quickly. We did it all in three days. Part of that was because Kathy and I had done our homework. We didn’t spend most of the session trying to arrange it. If you have the i’s dotted and the t’s crossed, you just turn these guys loose. The magic happens pretty quickly. I assume that Kathy’s next record is going to be acoustic as well.
Yeah, I think so. As she put it, the Coal record without the coal theme.
You are probably getting up there with some of the longer gigs in Nashville music history. I know there can be personality issues when you are with a band for a long time. It can happen. We were out on the road so much with Reba that we saw more of each other than we saw our families. Luckily, we were all very close. It was a family atmosphere. Those people are my friends for life. The average shelf life for a sideman is three years; Kathy and I have been working together for twenty years. It’s a special relationship. Obviously, you have spent a lot of time with the people in Kathy’s band.
25
Oh, every night! There is a set list but she changes it up all of the time. The set list never survives the entire set. She will also take requests. She has a lot of loyal, long-time fans who take delight in requesting a song from twenty years ago. Sometimes it has Kathy and me looking at each other trying to remember it. If either one of us remembers half of it, we try it. [laughter] You could always turn to the audience for the lyrics! Those are true fans that can go back twenty years.
Right. They’ll want to hear some obscure album cut. When you stop and think about the list of songs we both know and could actually do a halfway decent job on, it is pretty considerable. Since you are playing in this acoustic band, tell me how you handle the amplification and how do you monitor the sound on stage? What kind of gear do you carry?
It used to be, with an acoustic guitar, you would just plug into the PA and it comes back through a wedge. I use L.R. Baggs pickup system. I first met Lloyd in 1991, the year after I joined Kathy. At the time, he asked us to use a prototype called the Duet. It was a combination of an LB6, the bridge pickup and a mic inside the guitar encased in foam. In ’91, it was groundbreaking stuff to actually put a mic inside a guitar. We loved them. Kathy and I put them in our acoustic guitars and have been using them ever since. I had never heard anything sound as good as those original Duets until this new system, Anthem. It is a bridge pickup and a microphone that is attached on a bridge plate inside the guitar. This system is the next step forward. I have a prototype of it in my new Schenk guitar. You can put an amazing amount of the mic into the blended signal without it feeding back. Have you tested this out on the road?
Yes, I have. Not only that but, I am now playing it through his acoustic amp, the L.R. Baggs Acoustic Reference Amplifier. There is
a regular wedge and the acoustic amp is tilted back and pointed at me. This thing will give acoustic amps a good name. This one sounds like a studio monitor. I’m told the magic is in the speaker.
Let’s talk about your new record The Return Journey. You have some special tracks on there that you may want to talk about. I know that Kathy appears on the record. Yes, Kathy sings on the record. We did a cover of the old Elton John song “Madman Across the Water.” This will tell you a lot about Kathy. “Madman Across the Water” has always been my favorite Elton John song and when I asked her about it she said she liked it too. She said she used to have a boyfriend who was habitually late and she used to play it on the piano while she waited on him. When I asked her, she said she wouldn’t do it until we talked about the lyrics and what they mean. She has to find a way inside the lyrics. We spent about an hour talking about the song. At the end of that hour, she said okay. She didn’t even hear the arrangement. The string section on “The Twilight Waltz” is beautiful.
Carl Marsh, certified musical genius, arranged the strings. He does arrangements and conducts for everybody. Carl did the string arrangement on my second album as well. A lot of times, I am hearing a string arrangement and he will incorporate my ideas. On this particular one, I just told him to go for it.
a year. I went back and practiced guitar instead of writing tunes. When I do write it’s normally in the mornings. It’s kind of like email—see what arrived overnight. For a year I imposed a moratorium on writing and started working on things I always meant to get around to doing. Some of it was stuff I tried hard to learn when I was younger and didn’t do a good job of. I have always admired Chet Atkins. Back when I was younger I couldn’t figure him out. I thought how on earth is all of that going on with one guitar? I had a really bad, bastardized version of that kind of thing. I went back and tried to get a few Chet transcriptions and really dug in to find out how he accomplished that stuff. Besides gaining a whole new appreciation of Chet, I picked up little technical things. I had made it through a couple of Chet’s transcriptions and the next thing I knew, I had written “Hittin’ on All Six.” It doesn’t sound specifically Chet-like but, I know that the song is the result of learning those Chet arrangements. It was filtered through me. I’d like to acknowledge Bryan Galloup who built the guitar that I used on “Hittin’ On All Six.” I love his guitars. We’ve worked together for years.
Tell me about “Hittin’ on All Six.”
You’ve worked in the studio enough to know when it’s music and not math; when it’s your own project and you are the focus, that’s even more pressure. How do you get to that point when it’s about music and not the math?
It was one of the first tunes I wrote for the album. When I finished my last album, I thought I would immediately start on my next. I made the conscious decision not to do that. I didn’t think I would have anything to say if I immediately started. I didn’t write at all for
I wait for that feeling where the room disappears. Where you play the song and when you finish you realize that you kind of left the room. You don’t even remember playing it. It’s not always like that, but I look for that feeling. www.billcooleymusic.com
Groovy Guitar Arranged by Bill Piburn
The latest release from Hal Leonard - arranged by Fingerstyle Guitar editor Bill Piburn - Groovy Guitar features 15 custom arrangements of popular music classics. Songs are arranged for solo guitar in notes and tab.
Groovy Guitar 15 Classic from the 1960s Arranged for Solo Fingerstyle Guitar Daydream, Downtown, Happy Together, A Hard Day’s Night, I’ll Never Fall In Love Again, Last Train To Clarksville, Mellow Yellow, Scarborough Fair, (Sittin’ On) The Dock Of The Bay, Spooky, Sunny, Up On The Roof, Walk On By, What Becomes Of The Broken Hearted, What The World Needs Now Is Love. 00701215 Book/CD Pack ................................................................... $17.99 Also Available:
Fingerstyle Love Songs 00699912 Book/CD Pack .......$17.95
Fingerstyle Guitar Standards 00699612 Book/CD Pack .......$17.95
Order Today!
Mon.-Fri. 9am-9pm, Sat. & Sun. 9am-5pm CST
www.musicdispatch.com 1-800-637-2852 26
Hittin' On All Six
Hittin’ On All Six G7
V 44 1
T A B
%
œ
œ
7
C7
G7
œ j bœ œ œ 1
3 2
œ
2
6
5
78
0 7
7
6
7
5
78
0
7
C7
3
1
1
1
C7
4
1
1
3
3
3
5
6
0
6 65
0
7
7
8
7
6 7
0
5
7
3
45
53
3
1
1
1
1
3
3
7
6
6 65
7
7
8
4
1
13
9 8
8 8
97
2
6 7
5
7
45
3
53
5
7
5
œ
3
5
78
0
œ
1
3
3
6 0
78
5
67
5
65
8
6
6 6
78
0
5 7
7
‰ œj œ œ ‰ œj œ œ œ œ œ œ #œ œ G7
2
5
7
0 7
75
1
3
6
7
7
œ j bœ œ œ
7
© 2009 Nancy Lee Music
27
6 0
3
3
6
7
0
7
6
b ‰ œj œ œj œ b œ j b œ œ œj œ œ œ # œj œ œ b œj n œ bœ #œ œ œ bœ Ó œ œ 87
C7
3
2
B 7
78 67
7
7
2
57
5
5
78
0
G7
C7
œ
6
7
1
3
3
1
7
0
7
‰ œj b œ œ œj œ œ œ œ Vœ Œ 4
7
0
C7
4
j œ
3
2
0
0
2
3
1
3
2
G7
4
3
2
0
57
G7
C7
1
3
œ j bœ œ œ œ œj b œ œ œ œ œ œ œ œ œ
7
7
1
3
3
7
1
3
œ
3
2
5
78
C7
œ œ œj b œ œ œ œ œ œ œ
C7
œ
0
C7 ‰ œj œ œ b œj œ b œ b œ n œ œœ œ œ j b œ j V œ nœ #œ œ ˙ œ œ œ œ ˙ Ó G7
9
j œ
2
2
7
6
2
3
2
2
œ j bœ œ œ
0
G7
3
1
3
G7
7
‰ œj œ œ b œj œ b œ b œ n œ œœ œ œ j b œ j V œ nœ #œ œ ˙ œ œ œ œ ˙ Ó G7
œ
7
7
G7
œ
3
3
C7
œ
1
3
2
3
0
G7
œ œ œj b œ œ œ œ œ œ œ
1
3
C7
3
Bill Cooley
3
5
0
0 7
b D7 ‰ b œ œj ˙ œ # œœ ˙˙ œ bœ . J J E 7
56
6 5
5 4 5
G7
‰ œj œ œ b œj œ b œ b œ n œ œœ œ œ j b œ j V œ nœ #œ œ ˙ œ œ œ œ ˙ Ó G7
C7
1
3
1
1
C7
4
1
1
3
3
3
2
2
7
6 65
0
Em7 ( b 5 )
7
j ‰ œ b œœ œ œ œ # œœ V œ œ
7
3
45
53
2
0
1
œ
3
2
2
6 78
0
5 7
10
8 10
8
9
0
10
4
8
9
10
10
8
8
10
b
0 1
œ œ œ # œj ‰ œ œ b œ . œ œJ œ . J 3
3
1
10
11
3
B
3
1
0
0
7
G7/B 2
6
7
0
j ‰ œ œœ œ œ œ œ nœ ˙
4
1
3
1
3
3
4
0
11
0
‰ œj œ œ ‰ j œ œ œ œ œ œ œ œ œ G7
œ j bœ œ œ
F/C VIII
jj ‰ œ œ œ œ œ #œ œ œ #˙
10
12
12
3
7
0
#
4
3
21
0
œ
œ
C7
1
57
D-
1
3
11
5
C dim
A7
12
2
7
1
3
6 7
0
8
7
7
j œ
3
2
0
6
2
3
1
3
17
G7
A7 3
4
2
1
6 0
9
7
5
6 5
0
6
7
4
0
5
G7/B # F/C B b7 A D D7/F # To Coda j fi ‰ œ œ ‰ jœ œ œ Œ œ bœ œ # œ œ œ œ œ œ œ œ œ œ ‰ œ œœ # œ œ œ œ œ. œ œ œ Vœ #˙ n˙ œ ˙ b˙ J ˙ J #œ . œ J C dim
4
25
2
4
0
1
1
4
1
1
2 4
2
2
3
3
2
2
4
3
1
3
3
~~~
D-
1
2
7 5
G7
VSolo œ 2
œ
3
29
7 7
6
0
7
5
0
3
2
0
4
3
C7
1
3
2 3
2
0
2
G7
C7
œ j bœ œ œ œ œj b œ œ œ œ œ œ œ œ œ 1
3
1
6 0
2
3
3
2
3
78
5
0 7
1
3
3
7 7
6 0
78
3
1
1
2 0
2
3
2
2
0
1
2
2
0 2
2
~~~
~ ‰ œj œ œ b œj œ b œ n œ œœ~~~b~~œœ œœ j n œœ œ b œ œ #œ œ b œ n œœ n œœ ˙ œ œ œ œ
G7
C7
3
7 7
1
0
6 0
G7
1
1
3
2
0
2
5 7
0
0
0 65
7
8
0
0 0
6 7
~~~ 3 ~3
5
5 5
3
34
4 5
3 4
2 3
0 0
28
G7
V 33
C7
œœ
œ 1
G7
bœ œ œ œ œ
4 2
4 3
3 2
3
3
2
G7
œ œ œ œ b œœ œ
3
3
2
C7
0
4
3
3
G7
‰
œœ bœ œ œ œ œ œ
œ 1
3 2
3
3
C7 4 2
4 3
0
3 2
3
3
3
3
2
2
C7
‰ bœ ˙ œ
j œ œ
˙
0
4
3
3 2
3
3
j œ 2
‰ jœ ‰ b œj œ œ b œ b œ b œ œ œ œ V jœ œ œ œ œ œj œ œ œ œ b œj œ œ ˙ œ œ œ œ bœ œ œ œ œ œ œ œ œ ˙ G7
1
0
1
3
3
3
3
1
1
3
1
3
3
3
3
3
3
3
1
C7
G7
C7
1
37
0
3
35
3
3
5
5
5
5
57
3
5
43
1
3
3
4 3
1
0
3 2
3
3
2
0
4
3
0
3
Em7 ( b 5 )
3 2
3
G7/B E b7 j Db œ œ V b œ b œ n œ œ j œ œœ œ œ œ œœ ~ ~œ œ œ ‰ j œœ œœ ‰ b œœ œœ œœ ‰ jœ œ œ œ œ b œ œ b œ œ # œ œ V œœœ œ ˙ œ œ œœ b œ œ. œ œj. œ J J 0 1 3
3
3
3
3
1 3
1
1 3
2 1
2 3
G
2 3
3 3
3
2
1 1
1 1
2
4
1
0
1
2
3
3
41
0 3 5
5
3
34
3
5
58
9 8 11 10
6
7 8
7 6
6 7
~~3 ~~ 3
5 5
5
3 3
3 3
0
5
0 7
8 7 8
6
8 6 8
5
7
6 5
6 7
0
0
7
B b7 E b9(# 5) D13 ~ ~ b œ j œ j œ œ œ œ ‰ j œ œ œ œ ‰ œ Œ œœœ œ b œ œ œ # œ n œ œœ # œœ b n œœ œ œ œ bœ œ œ b˙ bœ œ œ V œ bœ œ œ œ # œj œ œ œ . œ bw J 2 3
C7 1
4
1 1
3 3
2 3
3
2 3
2 3
1 1
1 1
1
3
4
4
1
3
1 0
2
2
3
2
9 8
29
2
2
45
8 8
11 12
~~~88 10 ~ 10 10
8 89
9 10
8 9
7 8
5 5
8
5 5
67
6
5 6
0
5
7
6
7
6
2
11 11
0 10
0
0 0 9 10
0 10
0
‰ j Ó ‰ j Ó ‰ j j b œ n œ œ b œ œœ # œ œ œ œ œ œj œ œ œ b œ œ œ j œ œ œœ œ j œ œ œ œ Œ œ œ œœ œœ œ Óœ œ œ œ œ œ #œ œ œ œ ˙ ˙ J G7
V 49
2 1
2
C7
3 3
1 1
4
1
G7
3
2
3
3
3
1
3
4 2
3
1
1
0
1
2
1
0
0
34 23
0
0 0
3 3
5 5
3 4 3
5
5
34
5
3
53
13
j b œ ‰ œœ œ œ # ˙˙˙ œ V œ ˙
V 4/6 Em7 ( b 5 ) 2
Gdim/D j ‰ œœœ œ œ b # œœœ œ b œ ˙ ˙
D-7
œ
53
6 5 7
5
5 5 6
7 5
0
F/D
3
5 3 5
0
5
0
1
4
3
3 2 3 0
3
3 2
3
3
2
0
4
3
0 0
3
3
1
4
2
3 1 2
2
3
0
G9/D B b/D A7 j ‰ œœ œ œœ œ œ œ b˙œ #˙ œ œ œ ˙ œ œ œ œœœ œ œ w
III 2/6
A7
4 3
12
0
1
1 0 2
2
0
3
1
3
2
3 3
2
2
0
2 0 2 0
3
0
2
VI 2/6 F/D A7/G G/D j Gdim/D j DB b/D j D7 œœ œ b œ VII 4/6 n œ œ œ ˙ b œ œ œ œ œ œ œ œ œ œ ‰ œ ‰ œ œ # œ œ œ œ ‰ œ ˙ œ œ #˙ œ # œ 4 n œ œ j œ œœ œ œ œ 64 œ V˙ œ. ˙ œ ˙ 4 ˙ ˙ œ œ œ #œ Œ Œ p i VII 3/6
X 3/6 4
V 4/6
4
3
4
2
4
3 2
1 2
1
0
3
3
3
1
3
3
57
12 10 10 10 0
0
9 8 9 0
9
0 0
10 8 10 10
‰ j n œœ ‰ œj b œ V œ œ œ œ ˙ G7
C7
1
1
0
6 7
0
5
0
8
7
7
7
8 6 7
6
0
0
6 7
0
6
56 5
8
6
5
7
6
‰ j n œœ ‰ œj b œ œ œ œ ˙ œ
G7
1 1
C7
1
1
5
5 5
6 7
0
7
0
7
5 7
8
0
0
7 7
7
89
‰ j œœ ‰ œœj œœ œ ˙ ˙ œ C
1 1
1
3
2
2 3
G7
4
0
3
2
5 5 6 5
7
‰ j œœ ‰ œœj œœ œ ˙ ˙ œ C
7
fi G7
0
1
3
2
7
G7
4
0
61
7 8 7
3
2
0
6 7
0
D.S. al Coda
5 5
0
7
7
Coda
C7
G7
C
‰ ‰ j œ V .. œj œ œ œ œ œ b œ œ œ œ œ œ w w 65
. .
0 3
3
0
2
0
1
3
0 3
3
0
2
0
G7
C7
G7
C
‰ j œ b œ ‰ j œ œ œ œ œ .. œ œ œ œ œ w œ w œ Repeat and fade
3 0 3
3
0
2
0
1
3
0 3
3
0
2
0
1
3
. . 30
Simon Fox
“A Month of Rain”
“H
ello and welcome to the first in a series of articles that I will be presenting for Fingerstyle360. We will be digging into the related tunings DADGAD and CGCGCD, and some new ideas with the DAAEAE tuning. The goal is to use these tunings to write melodic and memorable tunes. We will see how to go further than the obvious sounds offered by the tuning, and also learn about techniques that add detail and personality to our melodies. The first tune we will look at is called “A Month of Rain” from my Winter’s Tale album. Remember that when we talk about notes and chords in the tunes, we ignore the capo completely. So, although the capo is on the 3rd fret for this tune, we discuss the tune a being in the key of C with no capo. This is a delicate tune, which starts off in the key of C major, as is most common for this tuning. Listen carefully to the legato effect in the melody, which adds to the fluid feeling in the tune. Measure #2 shows an example, where we hammer onto the 2nd fret, and then rapidly hammer onto the 3rd, then 5th fret. This adds a sense of pace to the tune, even though it is a lullaby, and keeps the listener engaged. This first section covers some standard CGCGCD chord shapes too, for example in measures 10 and 12, and are worth spending time to familiarize with.
At measure 17, the key changes from C to Bb and some unusual fingerings arise. This section has little rhyme or reason and came about from just trying to hear what should come next away from the guitar. For example, the measures 22 to 27 move the bass around with several accidentals (notes that don’t fit the key signature). With these open tunings, it is important to make sure you are the one driving the piece, not the tuning. When writing, sit back and think where you would like the piece to go and try recording yourself humming the melody before attempting to play it. Never settle for something that just fills the gap. The final part starting at section 33 uses the old standard descending bass theme. I will tread carefully with these common ideas to avoid a cliché. In this case, I felt the tuning brought new life to the theme and the left-hand legato work draws the attention of the listener away from it. Keep these left-hand ornaments very light and avoid sudden releases on pull-offs. The tune is also a good exercise in right-hand organization. Always try to avoid plucking the same finger twice in a row, and involve your ring finger where possible. Keep your pinky finger off the soundboard, and think about rain! www.simonfoxguitar.com
32
A Month Of Rain A Month of Rain
Tuning CGCGCD
Simon Fox
j œ ˙ œ œ œ œ˙ œ ˙
œ œ ˙ V 44 .. œ˙ œ œ ˙ 1
.0 .5
T A B
0 2 0
0
0
4
5
5
V 9
0 2
0
0 4
0 5
œ œ œ œ œ œ
j œ œ
œ
32
0
0
˙ 3
œ œ
œ
4
3 5
0
0 2
0 4
35
0 2
0 5
0
5
5 0
0
0
0
2
3
0
0 5 2 2
4
5
0
2 32 0
3
0 2
3
2 32 0
23
0
2
3 5
32
0
4 2 0
0 2
0 5
0 4
0
2
5
0
0
4 2 0
0
0
4
2
0
0
œ œ œ œ œ œ œ ˙˙ œ ˙
0
0
œ œ
4 2 0
0
0
0
0
4
bb
0
0 0
Œ œ œ œ œ œ œ œ œ œ œœ œ œ œ œ œ œ œ œ œ ˙˙ œ
j œ œ
0 5 2
0
0
0
œ œ œ ˙ œ œ Ó œ
0
œ˙ œ œ œ œ œ œ œ œ ˙
0 3 2 0
0
2
0
0
0
2
23
0
0 0
© 2008 Simon Fox (Amcos Societies, Australia)
33
0 2
2
0
0
5
35
0
3 0
0
0
œ œ œ œj œ œ œ œ œ œ œ œ œ œ œ œ œ˙ ˙˙ œ œ J˙ ˙ ˙ œ
17
0
0 4
0
œ œ œ b œ j œ V b œ˙ œ œ œ œ œœ œ œœ œ œœ œ œ œ ˙ œ œ œ œ œ œ 3 5 3
0 4
0
œ œ
œ˙ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ˙ ˙ ˙˙
0
0
0 5
0 2
0 5
j œ ˙ œ œ œ œ˙ œ ˙
13
0
2
4 4 2
œ œ ˙ V œ˙ œ œ ˙ 0 5
35
0
0
0 5
2
0
j œ˙ œ œ œ œ œ ˙ ˙
œ œ œ ˙ V œ˙ œ ˙ 0 5
0
œ˙ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ˙ ˙ ˙˙
7 3
3
75 3
7
0 5
0
0
3 0 5
3
0
0
œ œ œ b œ j V b œ˙ œ œ œ œ œœ œ œœ œ œœ œ œ œ œ ˙ œ œ œ œ œ œ
Œ œ œ œ œ œ œ œ œ œ œœ œ œ œ œ b˙ œ œ œ œ œ œ
j œ œ
21
0
3 5 3
0
5
5 0
0
0
3 0
0 3 2 0
5
0
23
2
0
5
5
2
2
23
2
0
3
2
3
0
0
5
0
0
4
4
6
02
4
œ œ œ œ œ ˙ #˙ 0
0
2
0
32 0
0
0
0 5
05
5 4
0
0
0 2
2
3
2 32 0
0
2
2 0
0
0
0
4 4 1
5
0
0
3
23 2
0
0
5
5 4
0
0
0 2
3 2
2 32 0
0
2 0
0
0
4
5 0
0
0
0 2
2 0
5
5 0 5
2
2
0
.. . .
0 0
j œ œ œ œ œœ œ œ œ œ .. œ œ œ œ œ œ œ œ
0
0
0
45
œ.
05
05
4
0
0
0
2
0
0
2 0
42 0
2
2 0 0
37
05
4
0
4
j œ œœ Œ œœj œœ œ œœ œ œ œ œ œ œ œ œ œ . œj œ œj œ œ . œ œ œ ˙˙ Vœ œ œ œ œ ˙ œ œ œ œ œ œ œ œ œ ˙˙ 0
0
œ œ œ œ ˙ ˙ ˙
0
4 4
0
3 6
2
0
33
0
7
œ œ˙ œ œ œ œ œ œ œ œ œ œ ˙
Œ œ œj œœ œ œœ œ œ œ œ œ œ œ œ œ . œj œ œj œ . V.œ œ œ œ ˙ œ œ œ œ . .5
0
0
5
œœœ
0
0
œ œ œ œ œ œ œ œ œ jœ œ ˙ œ œ œ œ œ œ œ #˙ œ ˙
0
0
0
3
29
0
0
3
2
5
V œj œ œ œœ œ ˙ œ ˙ 02
0
0
3
3
75 3
0
j œ œ
25
0
7
0
0
b n V b œ œ œœ œ œ œ œœ œ œ œ œœ œ œ œ œ n œ œ œ œ œ nœ 0
0
4
0
0
0
. .
ww w w
0 0 0 0
34
Sight & Sound Books
Douglas Niedt How to Make a Million Dollars Playing the Guitar For years those in the know have admired Doug Niedt as one of the finest guitarists in the history of the instrument. Now to the surprise and good fortune of many, he has authored How to Make a Million Dollars Playing the Guitar.
While making a million dollars is certainly a theme of the book, it’s much more than that. Armed with his own experience of over thirty years, as well as four years of research, Doug has compiled a book filled with the wisdom of a seasoned pro—he asks the reader to not only understand their goals but to truly understand themselves and their commitment to music. Once that is established, the principles in the book can be applied in a successful manner. Topics in the book include having a mission in life, learning from failure, mental attitude, business procedures, internet sales, home recording, taxes, booking gigs, and more. If you’ve made the decision to make the guitar your life’s work, or you’re considering this path, How to Make a Million Dollars Playing the Guitar is a must have. www.milliondollarguitarist.com
Hemme Luttjeboer The Complete Idiot’s Guide to Guitar Excerises
As a transcriber, Hemme Luttjeboer has worked on 250 books for artists such as Eric Clapton, Vince Gill, B.B. King, Jeff Beck and Jimmy Page, Eric Johnson, and many more. Hemme is also an accomplished player in his own right. His work has appeared in magazines such as Guitar Player, Guitar World and Fingerstyle Guitar.
Hemme has now stepped out as an author with The Complete Idiot’s Guide to Guitar Exercises. While the book is not for the virtuoso player,
35
don’t let the title fool you. The book not only introduces the beginner to the basic skills of the guitar, but it progresses into areas such as the harmonized scale, chord inversions, rhythmic patterns, major, melodic minor, harmonic minor, pentatonic, arpeggios, picking technique, and much more. The 264-page book contains over 150 written examples and a CD with 91 audio examples. We highly recommend this book for students new to the guitar. www.musiconpaper.com
DVDs
Howard Morgen Fingerboard Breakthrough During his fifty-year career, Howard Morgen has established himself as one of the most knowledgeable musicians the guitar world has ever known. His dozens of books and hundreds of articles have given great insight to countless musicians. Howard describes Fingerboard Breakthrough as his life’s work.
In this nearly five hours of interactive content, Howard shares his harmonic concepts and visualization techniques that will give guitarists of all levels and styles a greater understanding of harmony.
The course is organized into 23 sections and comes with a 132-page PDF manual. Some of the topics covered are octave shapes, triad application, inversions, cycle patterns, walking bass lines, chord embellishment, re-harmonization, slash chords, and much more.
Fingerboard Breakthrough has the potential to change your understanding of harmony and the guitar fingerboard. We highly recommend it for all serious students of the guitar. www.howardmorgen.com, www.truefire.com
CDs
Martin Taylor/Spirit of Django Last Train to Hauteville As a child, Martin Taylor grew up hearing his father’s recording of
Django Reinhardt and Stephane Grappelli. As early as age three, Martin was attempting to play along with his little ukulele. Little did anyone know that twenty years later he would start an eleven-year journey playing and recording with Stephane Grappelli.
In 2004 Martin bought a 17th century home in France as a retreat when not touring. This second home became a place to enjoy food, friends, and laughter. It also served as a source of inspiration where
Martin composed the music for Last Train to Hauteville.
Martin originally formed his group Spirit of Django in 1994 and they recently reunited to record Last Train to Hauteville. The group consists of two guitars, clarinet, bass, drums, and accordion.
The music of Last Train to Hauteville is filled with beautiful melodies, rich harmonies, amazing solos, and the spirit of Django and Stephane.
Like the countryside of France that inspired this music, it’s best experienced rather than described. www.martintaylor.com, www.theguitarlabel.com
Tom Hemby In The Moment
In Nashville, Tom Hemby is known not only as an Astring session guitarist but also as an award-winning producer. Tom is a Grammy winner as well as a four-time winner of the Dove Award. As a guitarist he has recorded with artists such as Michael McDonald, Amy Grant, Vince Gill, Steve Winwood, Wynonna Judd, Faith Hill, Garth Brooks, Brian McKnight, Matchbox 20, and many, many more.
In The Moment showcases Tom’s talents not only as an artist but as a composer and producer. On this fourteen-track tour de force you’ll hear red hot guitar much in the style of Larry Carlton. Session legends such as Nathan East and Vinnie Colaiuta lay down rock-solid tracks along with Nashville session players such as Pat Coil, Craig
Nelson, Gary Lunn, and Mark Douthit. Legendary producer/pianist Michael Omartian makes an appearance on the track “Can I Count on You.” Friends Vince Gill, Amy Grant, Christopher Cross, Melinda Doolittle, Bill Champlin and brother Ron Hemby join in with vocals on the track.
Tom Hemby is one of the finest studio guitarists in the country. Fans of contemporary guitar styles should without doubt add In The Moment to their collection. www.tomhemby.com
Tom Doyle Tribute to Les, Mary, and More
Inspired by the recordings of Les Paul, nineyear old Tom Doyle begged his parents for his first guitar. Little did they know Tom would one day befriend the legend as well as play with him. Tom worked with Les at the Iridium from 1996 until his passing in 2009. Tom’s passion for Les Paul was not only for his playing but also his genius regarding recording technology and guitar design. Tom has gone on to play a great player, guitar builder, and engineer.
Tom’s most recent project is a tribute to his mentor for all his contributions. When one records a tribute to Les Paul, it is understood that Mary Ford would also be an important part. Sandy Cory lends her fine vocals and captures the magical spirit of those classic recordings. Tom and Sandy takes the listener on a nostalgic trip with classics such as “How High The Moon,” “Caravan,” “I’ll See You In My Dreams,” “Bye Bye Blues,” and six others. This is a great addition for collectors of Les Paul’s music and just plain fine guitar playing. www.tomdoyleguitars.com
Want more of what Fingerstyle 360 has to offer? go to: www.fingerstyle360.com or “Like” us on Facebook
36
“Little Fingers”
Master Workshops
By Adam Rafferty
G
reets fellow pickers! Whether you have small, medium or large fingers I hope you’ll enjoy playing my tune, “Little Fingers.” This is a tip of the hat to the “sound” of Jerry Reed’s guitar music, but it also has some Count Basie “Tuxedo Junction” groove thrown in. It’s a 32-bar, bluesy medium swing tune. It’s based on a typical “blues counterpoint” idea often heard at the final ending of many 12-bar blues tunes. If you have ever jammed on a blues with other musicians, you have likely played this at the end of the tune. I end my tune “Vitamin E Blues” with a riff just like the opening riff of this song. After one night of practicing, this new little tune idea just popped out and said “Hi! I can be a tune too!” Little Fingers was born (or should I say were born?). Example 1 shows the 2 outer voices of this idea – melody and bass. Look at how the melody line descends, and the bass line walks up. In music school that’s called “contrary motion” – voices moving in different directions to give the effect of being independent lines. Example 2 shows the same idea, but a little more filled out by adding a middle voice. Very often, just 2 voices can sound a little stark or “skeletal,” so adding a 3rd middle voice helps add some harmonic satisfaction. What’s cool about this is that it looks like chords – but because we are intelligent musicians, we know it’s 3 voices of a blues choir – not “chords” as they are typically thought of. Voice leading strikes again! Aha! Rhythmically speaking, something very important is activated by Ex. 1
#### 4 ˙ V 4 ˙ 0
T A B
0
“What’s the big deal about that?” you ask. Dizzy Gillespie would spend rehearsal time whipping his big band into shape so they’d perform these “accents” properly. In swing and jazz, many play 8th notes like “da bee, da bee, da bee, da bee” for 1 + 2 + 3+ 4 +. (Example 3). That’s a “corny” kind of sound – just the sound Diz did not want! Try this by singing or scatting the following syllables: Start on the “and” of beat 4 with the scat syllable “BA”, and with “OO” land on beat one. “Ba-oo, Ba-oo, Ba-oo, Ba-oo” (Example 4). That’s a much groovier way to count 8th notes. Dizzy would have his whole big band sing their parts with these scat syllable accents to teach them. I wasn’t there, but my main teacher Mike Longo was his pianist form 1964-71 so I got the stories and lessons pretty much from the source. This concept can’t just be in your head or ears – it has to manifest as fingerings and sounds. Play the fingerings – hammers and slides as written, and you’ll fall right into the pocket!
n˙ ˙
˙ ˙
n˙ #˙
˙ ˙
3
2
1
0
0
1
2
4
# # ˙ V # # ˙ ˙
n ˙˙ #˙
˙˙ ˙
0 2
0 1
0 0
0
1
0
37
proper phrasing of the melody. The rhythm of the melody going into measure 1 puts a strong accent on the “and of 4.” It then hammers onto the first fret on beat 1 with a weaker sound. So, strong sound happens on the “and” of beat 4, weak sound happens right on the downbeat. It’s a bit inside out, when you think about it – so don’t think too much – just play the fingering as shown.
Ó Ó
Ex. 3
¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿
Da Be Da Be Da Be Da Be
¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿
Ex. 2
Ó Ó
˙ ˙ ˙
n ˙˙ ˙
0
0 3
1 0
Ex. 4
Ó
4
Œ ‰ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ J Ba
oo
Ba oo Ba
oo Ba oo Ba
¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿
The accompanying sound file here is not the actual recording from the CD, “Chameleon.” I re-recorded it (and made a Youtube video) because I felt that the piece has evolved due to playing it on the road every night. Tweaks, practice and improvement is a never ending process! Look on Youtube for this version, and you’ll see the fingerings in action. You’ll hear 3 “choruses” total, but the tabs and notation here are just “the tune,” i.e. the basic 32-bar song with the ending. This ought to keep you busy for a little while! Once you get the basic tune under your fingers, be sure to join my online mailing list for a full tab download with the 2nd and 3rd chorus with the full single line solo, shout chorus, and other arrangement ideas. Sign up at adamrafferty.com/freetabs and I’ll send it out as soon as it’s ready!
left hand to slip and slide up and down one fret at a time – whatever is needed. Another musical idea: fool around with letting the open E’s in the song ring out, especially in the first A section. I originally clipped the open E’s short – which is what you will hear on the CD version – but have been allowing them to ring lately, as heard on the newer sound file. Letting notes ring can add a level of relaxation to the music.
Technical tip: I use a left hand “shape” on the G and high E strings, leaving the open B string – and move these around up and down the neck for some other transitions.
Last tech note: pay attention to keeping a low volume on the backbeat “click” sound of the thumb or thumpick hitting the bass strings where the X’s are written. It’s a butt-kickin,’ fun and funky thing to do, but it can easily become the loudest sound of the music when left unchecked and on some of my recordings, it has. I am always surprised at how loud it sounds on recordings, compared to how good it feels when I am playing. It gets louder as you add high-end EQ and compression if you record. Live and learn! If you are not sure, try recording yourself.
See measure 16. The idea is much like measure 12, only “broken up rhythmically.” I pluck with P, I, M on the right hand. Due to the limitations of my notation, it is easy to do on the guitar but hard to write out! Just let the left hand notes ring out, and allow your
This tune is wide-open territory for you to make up your own ideas and improvise as well. Be creative, have fun, and I’m looking forward to hearing your version soon! Enjoy! –Adam
38
Little Fingers Little Fingers
q q=q e 3
Adam Rafferty
j œ j j œ. j œ j j œ. n œ n œ # œ n œ œ #œ ¿ œ ¿ #œ œ ¿ œ ¿ œ œ A
# # j V # # 44 n œ
2
2
2
0
T A B
0
1
j #### ‰ nœ œ #œ nœ V œ œ. J 4
2
4
3
2
3
2
j œœ œœ œ J
barre top 3
# # # # ‰ n œœ bœ V ‰ n œœ 3
3
2
8
3 4 3 2 3
j #### ‰ nœ œ #œ nœ V œ œ. J 2
12
3
2
3
2
V 16
####
0
3
¿
0
3
4
3
0
4
3
2
4
¿
0
2
1
0
0
1
¿
9
¿
1
3
0 0
0
1
0 2
0
7
j œ j j œ. j œ j j œ. j œ. œœ ‰ j j œ. n œ n œ # œ n œ œ œ œ œœ nœ #œ œ ¿ ¿ œ #œ œ nœ œ œ ¿ #œ œ ¿ œ ¿ œ œ ¿ 2
2
2
1
1
1
0 0
¿ ¿
1
0
3
¿
0
4
¿
0
2
1
0
0
1
¿
¿
1
0 1 0
3
4
¿
0
3 4
¿
1
2
0
0
¿
0
1 1
¿
0
0 2
œ nœ . 4
˙ 9
3
0
2 3
œ
2
1
3
0
3
2
2
j j œ j j œ. j œ. œ ‰ ‰ j j œ. n œ n œ # œ n œ œ nœ #œ œ nœ . œ ¿ #œ œ ¿ œ œ ¿ œ œ ¿ J
4
3
0
œœ œ n œ # œÓ œ 3
4
3
0 0
0
1
0 2 2
7
B
jœ j œ œ nœ œ j j œ œ ‰ œ œ œ œ œ œ bœ œ nœ bœ nœ œ nœ #œ œ œ œ Ó bœ ˙ ˙. 3 œ œ 2
3
2
3
3
2
2
3
4
3
4
4
0
0
01
5 0
39
1
3
nœ œ œ œ . #œ œ Œ ‰ n œJ # œJ œ 3 2
2
1
0
3
0
fi
0
2
1
0
3
3
¿
1
0
0
3
2
2
¿
0
0
1
2
1
2 2 2 1 2
4
¿
4
0
2
1
3
2
To Coda œ 3 j j œ j j œ. j n œ . œ ‰ ‰ j j œ. . œ œ œœ œ n œ n œ # œ n œ œ œ nœ #œ n œ # œÓ œ nœ . ¿ œ ˙ ¿ œ ¿ # œ œ œ œ œ ¿ J
2
2
0
3
¿
0
1
1
3
j œ œ. œ nœ œ
j œ œ. œ #œ
2
1
6 0
7
0 6
0
7 6
© 2010 Adam Rafferty
7
0 6
7
0 6
7
9
0
9
8
7 8
3
0
7
3
3
barre j j j j j # j n œ j œ œ ## # œ j œ nœ #œ œ œ œ œ œ œ œ œœ j œ n œj œ œ b œ n œ œ œ œ #œ œ œ œ #œ œ œ nœ œ nœ #œ V Œ ˙ . # ˙ ˙ ! ˙ ˙ 3 D.C. al Coda
4
3
2
4
3
2
1
2
3
20
3
2
0
2
0
0
1
5
6
7
0 6
7
0
fi
2
j œœ œœ œ J
4
25
9
0
8
0
0 2
0
1
4
0
3 3 3 2 3
7
2
2
1
0
2 2 2 1 2
4
2
˙ 9
2
4
œ nœ .
œœ Œ œœ œ ‰ œ J
2
2 0
3
4
3 #### œ nœ . œ œ œ œ ‰ n b n œœœ œ V n œ # œÓ ‰ n œœ ˙ 4
2
2
2
1
4
5
1
1
3
2
1
1
1
1
œ
7
0
8
7
6
3
5
0
6
0
2
œ œ œ ‰ n b n œœœ œ n œ # œÓ ‰ n œœ 3
0
8
3
0
1
0 2
0
0
3 3 3 2 3
7
j œœ œœ œ J
œœ Œ œœ œ ‰ œ J
2 2 2 1 2
7
j j n œj 3 3 œ j œ œ nœ nœ œ œ œ . n œ # œ #### nœ . œ œ œ j œ œ œ œ œ #œ œ V n œ # œÓ œ nœ #œ œ nœ #œ œ œ J Œ ‰ ˙ J œ œ œ œ . #œ œ Œ œ œ. œ. J J J 3
4
4
2
3
3
2
3
4
2
4
2
2
2
2
29
9
3
0 0
1
0
0 2
0
3 2
0 01
0
1
0
0
œ nœ œ œ 3 nœ #œ œ #### Œ. œ œ œ œ œ V n œ # œ 3 Œ nœ œ œ ¿ ¿ 3 4
3
1
4
2
3
2
33
12 10 7
10
8
9
0
0
2
0
1
0
0
3
0
¿ ¿
j œœ nœ n œœ 5 5 5 4 5
0
0
2
3
4
0
9 6
0
4
j j œœ ‰ ‰ # # œœ œ # ‹ œœ œœ nœ ¿ ¿ ¿ ¿
1
j j œœ ‰ ‰ n œœœ œœ œœ œ ¿ ¿ œ
6 6 6 5 5
X = Tap guitar top measures 34-35
¿ ¿
10
8
˙˙ ... ˙˙ . ˙. ˙.
Œ Œ
7 7 7 6 7 0
40
“The Backpacker”
Master Workshops
By Tim Farrell
“T
he Backpacker” started out with the idea that is the main melodic theme. I would play it as a cool sounding warm up thing. One day I was playing it as I was preparing to perform for one of my endorsing companies at the NAMM show. This guy ran up to me and said, “Keep playing that!” Then he started to jam along on a funky little single string instrument. He jammed with me for a bit and then as quickly as he had appeared he disappeared. After he left someone asked me if I knew who he was and I said, “I have no idea”. He told me that my jam buddy was Bob McNally the guy who invented the Backpacker guitar that the Martin Guitar company sells. It turned out that the instrument he was jamming with was the Strum Stick, another of his inventions. This encounter inspired to develop the musical idea and make it into an actual composition. Of course I had to call it “The Backpacker.” The Backpacker is an original tune with a bit of a Celtic flavor, which I believe is what attracted Bob McNally to it. It is not in a tuning normally associated with Celtic guitar music such as DADGAD or Drop D. It is in Open E. I use open E a lot, it is bright and lively and well ... open, with lots of energy and vibrancy. The key to playing “The Backpacker” well is having it sound alive and energetic. Do not play it too fast though or you will be off to the races and probably blow out a tire. Let the notes ring out and compliment each other as you play. The harmony is simple so use the openness and fullness to bring it to life. I always emphasize to every student the importance of working out your fingerings for both hands as you learn a piece. The fingering for fretting notes are notated in the music. Follow this from the beginning and it will become second nature very quickly. For your picking hand things fall mostly in the pattern of the thumb plucking the 4th, 5th and 6th strings while the first finger plucks the 3rd string, second finger plucks the 2nd string and third finger plucks the 1st string. We will call the main melody the A section. It is a descending phrase that mixes fretted and open notes that harmonize as it goes down. Then goes into a kind of suspended dance feel at
41
measure 8. Your picking hand is going to be busy so keep it steady and smooth. Think about the dynamics, start out softer in the beginning and bring it up towards the end in the dancing phrases. The melody starts again and these times the dynamics are already up a notch. Again swell with the dynamics in the dancing phrases towards the end. This time the dance phrases are extended and a little more syncopated. Starting at measure 29 we will call it the A.2 section. It is a fun series of runs using pull offs and hammer ons. Make these phrases clean and let the chords that happen every other measure ring clear for shimmer and contrast. In measure 32 hold down each of the half notes and hammered notes and so you end up with an F#m chord. In measure 38 we start a new section we will call the B section. The melody is written within the chords so keep the chord forms in place and only move the necessary fingers to bring the melody out from within. They are simply an A and B7 chords. Measure 47 restates the main melody from section A again, this time an octave higher. The melody rides down the third string and harmonizes with the open strings. This is a nice variation on the melody and harmonic voicing. We come to the suspended dancing phrases again and then into a repeat of the B section.
At
measure 72 the main melody appears again in the higher octave but this time it is a mixture of harmonics and fretted notes. This is meant to open up the melody and make it light and airy. Let everything blend together like a midsummer night’s dream. The melody will then descend into the dancing phrases, which are now extended and repeated. Keep the energy up and increase the dynamics gradually until you end the piece with a flourish. Most important of all, have fun with it!
timfarrellmusic.com
The Backpacker
The Backpacker
Tuning: EBEG#BE
Tim Farrell
#### 4 œ œ œ œ œ œ 3œ 3œ 3œ 3œ 3œ œ œ œ œ œ œ œ œ w œ œ V 4 œ œ œœ œœ œœ œœ œ œ œ œ œ w 3
3
3
3
3
3
3
1
T A B
V 5
####
0
0
3
0
1
0
0
0
0 2
0
0
0
0
0
0
0
0
0
2
0
0
0
0
5 5
4
5
0
4
5
0
0
5 0
2
2
‰ œœ œ œ œœ œ 3 œœœœœœœœœœœœ œœœ œœ œœ œœ œœ œœ 3 œ œ ˙œ œ œ œ œ œ œ œ œ œ œ œ œ w w ˙ Ó 3
3
3
0
0
3
0
0
1
0
3
0
0
2
0
3
0 0
3
0
0
0
3
0
2
0
0
0
3
3
0
0
0
5
0
5
4
3
3
5
3
0
0
4
2 4
5
0
0 2 0
0
0 0
0
0
5
3
3
0
0
5
0
1
#### ‰ œ œ œ ‰ œ œ œ ‰ œ œ œ ‰ œ œ œ ‰ œ œ œ ˙ V œ œ ˙œ œ œ œ ˙œ œ œ ˙ œ œ œ ˙ ˙ J 3
3
3
3
3
3
3
3
3
3
24 ˙ ˙
9
0
5
0
0
0 0
0
2
5
0
0
0 0
5
0
0
0 0
0
0
0
5
0
0 0
. .
3
0
5
0
.. 44
2
0
4
2
3 3 3 3 3 3 3 #### 4 ‰ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœœœœœ V 4 œ ˙ ˙ ˙ œ œœ ˙ ˙ ˙ ˙ J 3
3
3
3
3
3
3
3
3
13
0
0
3
2
0
4
# # œ V # # œœœ œ ˙ œ œœ ˙ J 3
3
17
0
0 2
3
0
5 4
0
0
5
0
0
5
0
0 0
0
5
0
0 0
0
0
0
5
0
0
5
0
0 0
0
0
3
24 ˙ ˙
0
0
0
5
0
0 0
0
5
0
0 0
0
0
0
5
0 0
3 3 œœ œœ œ œ œ œ œ œ œ œ œ 3 44 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ˙˙˙ œ œ ˙ œ œ ˙ 7 9
0
3
7 0
0
5
0
7
3
5
0
4
0 0
5
4 0
0
0
0
0
4 5 4 0 0
0
2 4 2 0 0
0 0 1 2 0
© 2005 Tim Farrell. Used by Permission
42
3
3
#### œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ‰ œ œ œ ˙ V œœ w œ œ œ ˙ 3
3
3
3
œœ œ œ œ œ œ œ œ œ œ œ œ 3 œ œ œ œ œ œ œ ˙
3
21
7 97 0
5 7 5 0
0
0
4 5 4 0
0
0
0
0
0 2
0
0
7 9
0 2
0 2
0 1
3
7
0
5
0
0
3
7
5
0
4
0
0
5
4 0
0
0
0
0
·· 3 œ œ œ œ œ œ œ œ œ œ œ œ œ 3 œ œ œ œ œ œ œ œ ···· ·· #### œ œ œ œ œ œ 2 œ œ ˙ œ œ œ œ œ œ ˙ V œ œ ˙ œ 4 Ó œ œ ˙ œ œ ˙ . œ ˙ 3
3
3
3
3
3
24
44
harm. 12
45 4 0
0
0
2 4 2 0
7 9 7
0 0 1 2 0
0
0
5 7 5
0
0
0
4 5 4 0
0
0
3
3
3
3
0
0 5 0
0 4
4
5
0
5
# # ‰ V # # œœœœ w 3
3
œœœ
3
32
0
5
0 4
0 5 0
‰ œ œ œœ œ œ œ ˙ .œ 4
5
0
5
0
0
3
5
0 4
0
0
3
‰œœ œœ œ w
0 5
5
0 5
3
7
0
12 0 12 12 12
3
3
3
7
0
0 7 0
0
7
5
0 5
7
5
œ˙
9 11 9 0
0
3 3 ‰œœ œœœœœœ ‰œœ œœ˙ œ œ œ w œ w
0 5
0 4
5
3
3
7 9 7 0
3
3
5
0
0
0
0
28
5
0
0
0
˙ #### 4 ‰ œ œ œ œ œ œ œ ‰ œ œ œ V 4 œ œ œ œ .œ œ w ˙ œ 3
œœœ
3
0 7 0
0
0
0
7
5
0 5
7
0
24
3
7
˙ ˙
0 7
0
3
3
5
7
3
3
37
15
0
0 13
0
0 12
0
0 10
0
0 8
0
0 5
0
0 3
0
0 0
0
0 5
5
0 4
5
0 2
5
0
0
0
0 7
5
7
‰œœ œ˙ œœœ œœ œ w 3
3
7
3 3 3 3 3 3 3 #### 4 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ‰ œ œ œ œ œ w œ V 4 œ œ ˙ w 3
43
0
0
5
2
44
3 3 3 3 3 3 3 3 3 œ œ # œ ## # œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 3 3 ‰ œ œ œ œ 3 œ œ œ œ œ œœœœ V œ Ó œœ œ œ ˙œ œ w w ˙ 3
3
3
3
41
15
0
0 13
0
0
0
0
12
10
0
0
0
0
0
8
0
5
0 3
0
0
0
0
0
0
5
5
4
0
0
5
2 0
0
4
0
0
2 0
0
0
5
0
0
0
0
5
0 0
3 3 3 3 #### ‰ œ œ ‰ œ œ ‰ œœ ‰ œœ œ œ œ œ œ œ œœ œ œ œ œ œ œ œ œ œ œ œ œ V œ œ ˙œ œ œ œ ˙œ œ œ œ œ œ œ ˙œ œ ˙ œ ˙ œ œ ˙ ˙ J 3
3
3
3
3
3
3
3
3
3
3
3
45
0
0
5
0
0
0
2
V 49
####
0
0
0
0
5
0
0
0
0
5
0
0
0
0
5
0
0 0
3
5
0
0
0
2
0
4
0
5
0
0 0
0
0
0
5
0
0
0
0
5
0 0
œœœœœœ œœœœœœ œœœœœœ œœœœœœ œœœœ œ œœœ œœœ w ˙ ˙ œ ˙ œ œœ œ ˙ w J 3
3
0
0
5
0
2
0
0
5
0
3
3
0
0 0
3
3
0
5
0
3
3
0
0 0
0
0
0
5
3
3
0
0
0 4
0 5 0
4
5
0
5
0
0
0 4
0
3
3
3
3
3
57
0 5
5
0 4
0 5 0
4
5
0
0
0 5
5
0 4
2
0
5 0
0
5 0
3
3
3
7
0
0 7 0
0
5
7
0 5
0
7
0
0 7
5
7
3 3 ‰œœ œœœœœœ ‰œœ œœ˙ œ œ œ w œ w 3
3
0 5
0 5
0
5
7
5
#### ‰ œ œ œ œ œ œ œ œ ‰ œœœœ˙ V œ œ œ .œ w ˙ œ 3
3
3 3 œ ˙ ‰œœ ‰ œ œ œ œ œ œ œ œ œ œ œ œ w œ w
0 5
5
3
3
4
3
3
5
0 2
53
5
0
0
#### ‰ œ œ œ œ œ œ œ ‰ œ œœ˙ œ œ V œ œ œ œ ˙. w œ 3
3
3
3
3
7
3
3
7
0 5
0 7 0
0
7
0 5
0
7
0
24
0 7
5
7
44
˙
#### 2 V 4
44
˙
61
‚ ‚
‚ œ
‚
w
·
3 œ œ œ œ œ œ œ œœ œœ œ w 3
w
5
<12 >
œ
<5 >
9
<7 >
5 4 0 0 0 5 5
<12 >
<5 >
‚ ‚
5
<12 >
0
0
7
2 2 1 2 0
5
3 3 3 ‚ œ ‚ 3 3 3 3 3 3 3 3 3 ‚ œœ œ œ œ œ œ œ œ œ œ œ œ œ œ œœ œ œœœ œœ œœœ œœ œœœ œœ œœœ œœ ˙ ˙ ˙ ˙ ˙ w ˙
w
66
0
ww ww w
5
0
#### ‚ œ V
3
<12> 9
<7 > <5 >
5 4 0 0 0 5 5
<12> <12 >
2 0 0
0
2 0 0
0
5
0
0
4
0
0
5
0
0
0
5
0
0
0 0
0
5
0
0 0
0
2
0
0
5
0
3 3 3 3 3 3 3 3 #### ‰ œ œ ‰ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œœ œ œ œ œ V œ œ œ œ œ ˙œ œ œ œ ˙œ œ œ œ ˙œ œ œ œ ˙œ œ œ œœ ˙ ˙ ˙ ˙ ˙ J 3
3
3
3
3
3
3
3
3
3
3
3
71
0
5
0
0 0
0
0
V 76
####
3
0
5
0
0
0 0
0 2
0
0
5
0
4
0
5
0
0 0
0
5
0
0 0
0
0
0
5
0
0 0
0
0
0
5
0
0
2
3
0
5
0
0 0
0
5
0
0
0
0
5
0 0
3 3 3 ‰ œ œ œ œ œ œ œ œ œœœ œ œœœ œœœ œœ œ œ œ œœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œœ œ œ œ œœœ œ œœœœœœ ˙ ˙ ˙ œ œœ ˙ ˙ œ œœ ˙ ˙ ˙ J J 3
3
3
3
3
3
3
0
0
0
0
5
2
2
4
0
5
0
5
0
5
3
3
0
0 0
0
0
0
5
3
3
0
0 0
0
5
3
3
0
0 0
0
2
0
5
0
0
2 0
0
3
3
5
0
0
0
3
0
0 0
5
3
3
0
0 0
0 2
3
3
3
3
3
3
3
0
4
3
3
3
81
0
2 0 0
5
0
0 0
0
0
5
0
0 0
0 2
5
0
0 0
0
0
5
0
0 0
0 0
5
0
0 0
0
0
5
0
0 0
0 2
3
0
0
5 4
2
0
5 0
0
0
5
# # # # œ œ œ œ œ 3 œ œ œ œ 3 œ œ œ œ 3 œ œ œ œ 3 œ œ œ œ 3 œ œ œ œ 3œ œ œ œ œ œ œ œ œ w V œ œ ˙œ œ œ œ ˙œ œ œ œ ˙œ œ œ ˙ œ œœ œ œ ˙ ˙ w J
45
0
0
0 0
0
5
0 0
“Little Bird” Master Workshops
By Eric Frederickson
ittle Bird” is from my soon-to-be released book titled A Long Time Coming. The title speaks for itself. I have been composing music and lyric for over forty years, the time has come! However, I would have never guessed that my first release would encompass classical guitar music. It goes to show that life is always ready to surprise.
“L
I still remember the day I heard an advertisement on the now defunct classical station in Saint Louis that classical guitar virtuoso John McClellan was accepting new students. To my credit, I made the call. John and I hit it off right away and he has been a great coach ever since. I was devoting serious time to the classical guitar for the second time in my life and when the creative juices flowed I was directed towards composing new music for the classical guitar. John soon expressed interest in recording my compositions. I jumped at the opportunity! The recording you will hear of “Little Bird” is John playing his Keith Adams guitar. I might add he did a fantastic job. I have always thought melodically while supporting the melody with interesting harmony. I believe “Little Bird” reflects this approach. The melodic flow tries to capture the nuance and beauty of a colorful little bird. I believe the listener quickly identifies with the melody as the first four measures repeat in bars 5 and 8. A new melodic phrase
47
is introduced in measure 9 as the E7 chord modulates the tonal center to the key of A major. Then an immediate turn to A minor followed by a return to the key of E major. This part of the melody repeats up to measure 15 where it then returns to E major by the way of the dominant 7th chord, B7. This is followed by a restatement of the opening theme. The B section takes on a minor tonality as it moves into C# minor, the relative minor of E major. Notice the ascending movement in the bass as if the little bird is soaring into the sky before returning to her resting place. Once again, we admire the little bird as we repeat the theme and end with a cascade of eighth notes as she flutters away. “Little Bird” is dedicated to my mother, Eunice, who passed away five years ago. As a boy, I had the nickname of “Little Bird” because I could fly like a bird when I ran. My friends all lovingly referred to my mother as Mrs. Bird. It is truly fitting that “Little Bird” is the first song heard from this new collection. I have enjoyed sharing the music and story with you. Feel free to email me for information on the release date and ordering information.
[email protected]
Little Bird
Little Bird II œœ Œ ‰ œj ˙ œœ œ œ œ ‰ œ œ œœ ‰ œ œ ‰ œ J ˙ J ˙ J
#### 3 œ n œœœ ˙ V 4 ‰ œ œ œ œ ˙. J 4
0
0
1
4 3 4
1
2
2 2 2
0 2
4 3 4
j œ . œ # # # # n œœ œ œ œ œœ œœ V n œœ ˙. 3
9
7 5
9 9
9 7
j œ œ . œ # # # # n œœ œ œ œ œ œœ V n œœ ˙. V 5/6
13
5
7 5
7
9 9
17
0
5
0 1
2
1
4 3 4
5
8 10
5
7 9
5 7
4
3
4
1
4 2
1
9 10 9 9
0
2 2
5
0
1
2
3
11 12 11
10 11
12
9
0
5 2
2
4
2
2 4 2 4
5
4 4
5 6
4 4
7 7
0 VII
˙. œ œ œ ‰ J œ ˙. 3
7
7
2
9
7
8
7
4
2
0
4
II œœ Œ ‰ œj ˙ œœ œ œ œ ‰ œ œ œ ‰ œ œ ‰ œ ˙ Jœ ˙ J J 2 2 2
0
Œ ˙ œ œ œ ‰ J œœ œœ œ œ ˙.
j œœ œ ‰ œœ œ œ œ œ œ œ œ IX
5 5 6
5
6
2
IV 4/6
0
0
# # œ œ V # # ˙‰ œ œ œ œ n œœ ˙. J 0
5
5 5 6
5
6
0
1
0
7
7
9 7
4
˙ œ œ œ œœœ ‰ J ˙. 5
0
˙. œ ‰ J œ œ œ ˙.
4
j n œ . œ œ œ œœ œœ ‰ J nœ ˙.
˙ œ œ œœœ œ ‰ J ˙.
3
2 4 2 4
2
1
V 3/6
4
2
2
0
7 5 7 6 5 0
0
4
0
5
2
V 3/6
4
7
5
2
2
0
V 5/6
5
2 4 2 4
2
4
2
2
2 2 2
0
7 5 7 6 5 0
2
4
5
1
5
II œœ Œ ‰ œj ˙ œœ œ œ œ ‰ œ œ œ ‰ œ ‰ œ ˙ Jœ ˙ J œ J
# # œ n œœ V # # ˙‰ œ œ œ œ œ ˙. J 1
5
2
2
0
0
0
˙. œ ‰ J œ œ œ ˙.
4
1
T A B
Eric Frederickson
4
˙. œ ‰ J œ œ œ ˙. 0
0
1
0 2
0
© 2010 by Eric Frederickson
48
œœ Œ ‰ œj ˙ œœ œ œ œ œ œ œ ‰ ‰ œ œ œ ‰ œ ˙ J J ˙ J
#### œ n œœœ ˙ V ‰ Jœ œ œ œ ˙.
II
21
0
0
1
4 3 4
1
2
2 2 2
0
. .
4 5 4 4
3
0
3
0
9
0
9 9
# # # # œœ œœ œ œ V Ó 1
5 6
37
2 2 3 2 4 2
49
4 4
7
8
2
. .
8 10 9
1
n ˙˙ n ˙˙
5
2
1 2 2 3
1
10
9
12 13
10 12
1
U œœ œœ 0 2 1 2
9
œœ œœ œœ
8 10
8 10 9 0
10 9 11 9
10
8
10 10
9
1
2
10 12
12 13
1
8 10
j 3 ‰ œ œœœœ ·
œœ œœ œ
4
3
4 5 4 6 4
9 10 9 7
<7 >
œ ˙‰ œ œ œ œœ n œœ ˙. J 0
7
nat. harm.
7 7 8 7 9 7
0
10
IV
3
4
8
1
j 3 ‰ œ œ œ œ œ ·
VII
1
9
10
8
7
1
4
7 9 7 9
4
j n œœ œœ œœ n œœ . œ œ œ ‰ Œ J . ˙
IX
2
5
œ
4
7 9
1
8 7 8 0
10 9 11 9
3
3
2 2 2
3
6
5 7
2
3
˙ œ n œœ œ # œ œ n œœ ˙ œ
j œ n œœ . œ œ n œœ œœ œ œ ‰ .. Œ J ˙.
j œ œ ‰ Œ 4
4 5
5
9
10
VII
2
1
3
33
4 5 4 4
2
œ œ œ
3
8
3
29
8 8 0
7
3
4
9
0
j n œœ . œ œ œ œ œ œ œ nœ ˙.
IX
7 9 7 9
0
0
3
0
2
j œœ . œ œœ œœ œœ œ œ nœ œ œ
4
1
6
7 9
0
4
3
2
5 7
2
4
2
˙ n œœ œ # œ œ n œœœ ˙ œ
IV
#œ # # n˙ œ V # # #˙ nœ œ œ ‰˙ . J 2
4 5
5
2
2 4 2 4
VII
1
3
3
0 0 6
II
1 4
4
25
# # # # œœ .. # œœ .. V œ .. œ
2
j œ œ œ . œ œ œ œ .. œœ œ œ nœ œ œ
3
7 8
5 2
IV
# # # # ˙˙ .. V ˙.
1
5
2
2
0
œ ˙ œœ n œ ‰ nœ nœ ˙. J
4
0 1
2
1
4 3 4
7
5 7 5
6
<4 >
II œœ Œ ‰ œj œ œ ‰ œ ‰ œJ J ˙ 4
2 2 2 0
2 2
2
5
#### ˙ œ ‰ œ œ œ œœœ œ ˙‰ . œJ œ œ œ V ˙ J ˙. 41
5
2
2
4
2
2 4 2 4
0
4
0
0
1
0
0
1
2
0
j œ. œ œœ œ œ n œœœ œ œ œ nœ ˙.
46
0
0
7 5 7 6 5 0
0
1
2
0
5
jœ œ . œ # # n œœ œ œ œ œ œœ V # # n œœ ˙. 7 5
7
9 9
9 9
7
5
6
5
5 5 6
7
5
4 3
9 11 12 10 10 12 9 11 9 11 0
9
0
2
2
2
2
2
4
2 4 2 4
4
0
0
1
7
7
7
9
4 4
5 6
4 4
7 7
1
2
1
2
1
4 3 4
0
0
0
0
0
8
II œœ Œ ‰ œj œ œ ‰ œ ‰ œJ J ˙
œ ˙‰ œ œ œ œœ n œœ ˙. J
0
5
œ ˙‰ œ œ œ œœ n œœ ˙. J
7
0
4
0
1
56
5
4
4
4
5
5 7
0
II # # # # œœ Œ ‰ œj ˙ œœ œ ˙ . œ œ œ œ œ œ ‰ œ œ œœ V ‰ œ ‰ œ J ‰ œ J ˙ J ˙ ˙ . J 2
7 9
2
Œ ˙ œ œ œ ‰ J œœ œœ œ œ ˙.
1
0
2 2 2
9 10
5
4
2 4 2 4
IV 4/6
VII j œœ œ ‰ œœ œ œ ˙ . œ œ œ œ œ œ ‰ J œ œ ˙. œ
5 5 6
5
6
5
2
2
˙ œ œ œ œœœ ‰ J ˙. 5
5
2
j œœ œœ œœ œ. œ ‰ J nœ ˙.
IX
˙ œ œ œœœ œ ‰. J ˙
9 7
5
2
2
0
V 3/6
9 7
V 3/6
51
5
7 5
7
4
2 2 2
0
V 5/6
7 5 7 6 5 0
4 3 4
1
2
II
0
V 5/6
#### ˙ . œ V ‰ J œ œ œ ˙.
œœ Œ ‰ œj ˙ œœ œ œ œ œ œ œœ ‰ ‰ œ œ ‰ œ J ˙ J ˙ J
œ ˙‰ œ œ œ œœ n œœ ˙. J
1
2
4
4 3 4
2 2 2 0
0
2
2
5
2
U #### ˙ œœ œ ‰ j œ œ œ 2 n œ œ œ œ n œ 34 ‰ j œ œ œ ˙ . ‰ œ œ œ œœ œ œ œ œ V 4 œ œ ˙ J œ ˙. ˙ ˙ ˙. ˙. 1
3
4
1
3
4
61
5 2
2
2 4 4 2 2 4 4
0
7
6
0
0
10
8
10
0 11
1
2
4
1 0
2
4
1
0
0
50
CHARACTER
•
CHARISMA
The Charis Acoustic mission is to provide its customers with the finest quality, personally crafted guitars available. 989.686.9775
www.CharisAcoustic.com
•
CHARIS
“Morning Ra”
By Tom Pender
unexpectedly as it does not really lead back to B Dorian. This
inspired moment while vaca-
instantly gave me the contrast that I was seeking in order to keep
tioning in a beautiful setting as
the piece interesting. The choice of D minor is a common composi-
Master Workshops
M
orning Ra was the result of an
I was drinking my coffee. My guitar
tional technique of moving to the parallel minor from a major tonal
always accompanies me wherever I go
center. After playing around with such vacillation and eight bars
as that golden moment of inspiration
later I cadenced with Eb9b5 to DMaj7. In developing these next four
may occur at any place or any time.
bars, I was able to give myself a good escape route back to the origi-
Some elements were unconscious but
nal key of B Dorian by working down the progression and cadenc-
others more conscious as certain com-
ing with F#7. The little moving voice within the F#7 also assisted in
positional aspects helped me continue in the creative process. After all, the Latin origin of the word compose, componere, literally
leading back to B Dorian by creating tension calling for resolution.
means to put together.
In the end, with a little inspiration and a lot of perspiration, I was
As the title of the tune indicates, I started the tune as a simple
where I was and what I was doing at that point in time. So, the
motive over a minor chord that moved up the dorian scale. All of
moral of the story, never go anywhere without your guitar!
this came quite spontaneously. Next, I began to work in a bass line in which I had to think through in order to play the two together. With a repeat, I was able to create an A section of 16 bars.
able to create a short little piece that will always remind me of
Enjoy! www.tompender.com
The cadence on a bitonal of A over G leads to the B section a little
52
Morning Ra
Morning Ra
Thomas Pender
j j j j j ˙˙ œ œ œ # # 4 œj œ œœ n # œœ # œœ Œ ‰ œj b œ œ b œ n œ n œ Œ . ‰ Ó ‰ œ b œ ‰ n œ Œ ‰ ‰ œ b œ ‰ n œ œ # œ œ .˙ œ & 4 œœ œœ # œ n œ # œ # œ n œ # œ œ nœ # œ #œ œ œ œ œ œœ œ nœ# œ #œ œ œ œ œ œ œœœ œ 1
1
4
3
3 2 4 2
2 2
% # & # 6
5 4 6 2
4 3 5 3
4
4
4
2
12
11
5 4 6
5
5
4 3 5 3
4
4
jœ ˙ . œ ˙˙ œ œ œ œ
9
9 9 9
10 7 7
12
9 9
7 7 7
7
10 9
7
12
7
10
10
9
9 9 9
12
9
12
2
3
1
j œ. ˙ œ # ˙˙ œ œ #œ œ bœ
9 10
11
10
. .
5 4 6 4
œ œ œ # ˙˙˙ œ œ #œ œ
10
12 12 11
fi
5
7 6 7 5
œœ œ œ œœ œ œ
9 10 9 9
9 12
12
6 5 6 4
4
1 2 1 1
9
7 6 7
5
5
j ˙ œ œ œ œ œ # ˙˙ ‰ œœ # œ œ bœ ˙ œ œ 9 9 9
5 4 6
4
11
10
10
9
12
12 11
To Coda
. # # ‰ œœœ ... & ˙ œ
11
9 10 9 9
œ œ
œ
12
10
œ
12
j œ œ. œ #œ œ
# ˙˙˙ œ 1
9 9 9
10
3
15
j œœ œ œ J
4
7 7
8 7 7
6
6
2
. .
9
11 9
# . & # 44 œœ . bœ.
2
12
9 12
12
œœ Œ œ œ œ œ nœ
j œœ œ œ œ
œœ .. .. œœœ .. 1 2 1 1
9 10 9 9 10
9 10 9 9
9 10 9 9
4 3
3
8
3
1
8
8
6
8 7
7
5
2
7
1
œ
2
‰ n œœœ ... ˙
6
. ‰ b n œœœœ ... b œ. 1
2
5 6 6 5
5 5 5 6
6
6
7
8
8
© 2011 Thomas Pender
53
6
5
7
5
4
1
5
5 5 3
œ #œ nœ ˙
4
œ n œ n œœ œ n œœ n œ 4 œ 4
4
3
1
2
10
j n œ ‰ b œœ œœœ n œ n˙ 6 7 8
‰ 54 n œœ .. œ n œ. J
9 10 9 9
10
1
6 7 8
j œœ ‰ œœ œœ œ œ œ œœ
5
1 4 3
œ J 6
3 j j n œ œ œ œ œ œœ Œ œ ‰ œ œ nœ œ œ ‰ b n œœœ œœœ œ œ œ œ n œœ œ. œ œœ œ n œ ‰ b˙. œ nœ . œ. ‰ Ó
# œ. & # ˙‰ n n œœ ..
3
18
5
8
8
5 5 3
8
6 5
7 7
7
7
8 7 7
6 7 8
6 7 8
6 8
j œ ‰ # n œœœ b œ.
œ J
5 5 5 5
8
7 7
œœ œœ
5 6 6 5 6
5 6
6
7
3 j # # ‰ œœ j œ œ ‰ œœ œœ œ œ œ œ œ & œ œ nœ #œ œ œ. œ ˙ Ó Œ J 3
8
5
5 7
5 6 4
6 3
5 4
3
6
5
5 4
4
0
2
2
4
26
9
2
6
4 6
2
9
9 10
˙
w
9
9 9
tap with right hand
10
10 9
9
4
6
4
9 9
9
5
4
9
10
3
3
0
9 10 9 9 10
9
4
1
3
3
2
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 10
1
4
4
1
2
œœ œœ œ
1 1
2
3
0
2
1 2
1
1
0
4 7
5
0
n œ œ # œœ # œ # œ œ œœ œ # œ œ
œ
0
2 3 2
6
5
D.S. al Coda
j ‰ œœ œœ œ œœ ˙ ˙
œ
22
fi ## &
œœ œœ œ J
9
9 3
54
“City Blue” Master Workshops
By Bill Piburn
L
et’s take a look at my original tune “City Blue.” In this column, I will discuss chord voicings, chord alterations, chord texture, ornaments, syncopation, tritone 7ths and the tritones used as altered dominate sounds. We will also discuss implied harmony. At times, these points of topic may overlap, because multiple things can happen at once. Implied Harmony
When dealing with harmony, one could say that a chord has to have the major or minor third to define the quality of the chord, and that is true in a textbook definition. In the real world of hearing music, whether or not a chord is major, minor, diminished, altered, etc. is often determined by the context; what follows or precedes is just as important, if not more important. Perception becomes reality because our ear perceives the sound. This perception is not only based on what precedes and follows a sound but is also affected by the expected harmony of the key center we are in at the moment. A few examples of implied harmony are as follows:
Measures 1 through 8 imply harmony, even though it is just a bass line without chords or at least full chord structures. This is a perfect example of implied sound. It is all about where the line leads and what precedes it. Notice the chord symbols that I feel are at least implied and see if you agree. In measure 9, the chord symbol indicates C minor; however, there is no minor third in the chord. Why does it sound minor? The answer is in the preceding bass line and with what follows. The second chord in measure 9 is indicated as an Ab7. Why does this imply the sound of Ab when there is no Ab note in the chord? The answer is in the key center, which contains Ab. The flat 7th and third that follow also affect the perception. It is about context and perception. You will see the very same thing happen on the G7 in measure 10. The last implied sound I will point out is an altered sound that happens in measure 12. On beat three, you will see the chord symbol G9#5. The altered sound happens on the upbeat. This sound is perceived as an altered G only because of the reference of G that happens in the first beat of the measure. You see we retain that musical reference. If I had played the same notes alone you might hear it as a B7th chord – why? They contain the same notes. The answer is reference; in other words, implied harmony. As you play other arrangements and arrange for yourself, keep it in mind to look for these implied sounds and use them to your advantage. Syncopations
Syncopations are nothing more than playing the note or chord on the upbeat, a.k.a. the weak beat. They can be cut short or tied over into the following downbeat. Musicians refer to this as a ‘push.’ You can make the personal choice as to pushing the top of the chord, bass only or whole chord. For single note references, take a look at the intro. Chord syncopations happen in several
55
places within “City Blue.” First, take a look at the Ab7 in measure 10 going into measure 11 and then, take a moment to spot other syncopations. I encourage you to start using syncopations in your arranging and playing. It is really a feel thing. Don’t over think it, feel it. Chord Voicings
Chords can and should vary in texture, meaning density or number of notes played. At times, I choose to play full chords and other times just two or three notes. I like to vary the texture. This is always a choice done by ear. Use your ear but be aware of the choices you have. Chord Texture
I only used a couple notes to outline the chord sounds in measure 9. As it moves into measure 10, you will see three note chords. In measure 14, you will see a four-note chord on the Amin7b5 and at the end of the piece in measure 35. I used several five-note chords for a bigger and more dramatic ending. Tritones
A tritone is an interval of a raised 4th. This intervallic distance is created and found in all dominant seventh chords. The interval of a tritone happens between the third and the flat 7th of the chord. It is a great tool to use and understand that we can outline the sound of a 7th chord by only using those two notes. The root of the chord can be left out. Take a look at the Ab7 in measure 9 and the G7th in measure 10. Look for the tritone shapes on the fingerboard. They are very useful built off the 6th, 5th, and 4th strings. Tritone Used as Alterations
I have found that the tritone shapes can be moved around the guitar to imply altered sounds. The key is to first establish the chord sound, as I did in measure 12. Beat one outlines the G7th while a tritone shape moved up to D# and A outlines the sound of G9 (#5). This is a powerful tool! If you incorporate it into your arranging and writing you will be amazed at the sounds you will find. Ornaments
Ornaments are slides, slurs, hammer-ons, and pull-offs that can really help the phrasing and feel of the music. Especially when it comes to the blues sound. Where would Ray Charles have been without slurring into the notes, both in his voice and piano? Where would B.B. King be without the bent slurs? In “City Blue,” I do not use bent notes, but I do use many other ornaments. I have discussed several topics in this article that I believe will make you a better player and arranger/composer. Give it consideration and, if you apply it, you will open new and exciting possibilities for your music.
Blue CityCity Blue b
C-
Dm7 ( b 5 )
A 7
b 4 V b b 4 œ.
j œ bœ .
1
1
b
C-
j œ œ
A 7
œ œ œ.
1
3
5
3
4
b
C-
j œ bœ .
5
5
1
b b b ‰ œj n œ œ œ œ b V œ œ Œ bœ ‰ J 2
2
3
b
bœ nœ œ .
2
4
4
5
C-
2
3
8 8 10
8
6
b
1
4
3
IV
III
3 1 1
1
4
5
3
j œ
j œ œ.
3
3
4
3
3
2
2
4 3 4
3
6
4
6
j œœ n œœ J
b j j n œ b œœ bœ J A 7
IV
6
8 10
3 2
7 6
Cmin6 j j œ˙ œ œ œ n œœœ .. œ n œœ œœ ˙ œ. J
b j œ bœ b œœ J
G7
D 9
œœ .. œœ ..
3
3
4
6
4
4 4 3
4
4
2
I
III
45
5 5 6 5
7
3
4 3
4
œœ ... œœ .
4
3
1 2 1 3
˙˙ ˙˙
4 4 3 4
F13/E b G13/F G b13 b A b7 œ œ j j œœ œ œ œn. œœ œœn œjb œœ œ˙ œ œ œ b œœœ n œ œ nn œœ œ˙ b œ œ ‰ œ b œ Œ Jœ œ œ ˙ ‰ ‰ ‰ Jœ ˙ nœ ‰ J hinge 4
3
E /D
2
I
3
Am7 ( b 5 )
4 3
8 6
7
4
17
6
V
b j b ‰ œ œ !œ œ œ V b b œ œœœ œœœ ‰ ‰ bb œœœ ‰ ‰ J 4
‰
3
3
6
G7
Œ
œ œ
3
4
VI 8 9
4
45
j œ #œ œ nœ . 1
D 7( b 9)
Cm9
3
œ œ
5
IV
3
B7( # 11)
3 4
7
5
C-
5
4
3
2
4 3
4 3
VII 8
5
œ
A b7/C j G7/B b j G9#5 rœ œ œ n œ œ . œ œ œ. œ n œ œ b œœ œœ . n œj œj œ œ œ œ nœ œ bœ ˙ œ œ ‰ œ œ œ œ œ œ ˙ ‰ b œ œ ‰ ‰ n œœ œœ ‰ ‰ # Jœ œJ ‰ J J J J J III 4/6 6
B/C
VIII
4
œ œ œ
1
œ œ œœ œœ œœ # œ n œœ b b b V ‰ J ˙ 13
2
2
5 4
1
6
4
A 7
III
5 5
3
6
j œ œ
1
6
6
1
G7
1
1
4
6
4
3
A 7
C-
4
1
3
9
3
G7
A 7
4
6
œ œ œ.
3
5
j œ œ œ bœ nœ 3
1
C-
j œ œ
4
C-
3
Dm7 ( b 5 )
A 7
b V b b œ.
3
5
G7
bœ nœ œ . 1
mutted bass intro.
T A B
Bill Piburn
4
1
4
2
2
1
2
4
1
4
3
1
1
1
VI
5 5 4
4
8
7 7 6
VI 4/6
IV
45
4
6
4 4
4
8
7 8 6
6
1
VIII
8
9 9 8
8
5 2
©2010 Bill Piburn. Used by permission.
56
# b
F7 A b7 j r œ bœ œ œ œ œ œ b œœœ œœœ ‰ b œœ . œ b œ n œœ œœ œ. œ œ œ œ n œ œ œ œ b œœ œœ œ œ œ œ. n œ œ . œ. bœ œ . œ œ œ œ œ œ J J J J
j‰ œ œ œ œ b œ œ œ V b b œœœ ... n # œœ œœ .. œ œ. nœ J J 2
4
4
4 3 3 3
6
1
2
fl b #œ # œ nœ œ Ó V b b ‰ n œJ œ œœ Ó nœ . J 10
4
C7/B
b
11 10
8
10
9
8
10
1
F-7/A
3
8
4
3
1
8 76
8
1
4
3
3
29
b
3
6
3
b b
C-
3
2
8
6
5
4
6
8 8
5
b
4
4
6
5 5 3
4
œ b œj n œ œ œ œ œ œ n œœ
j # œ œœ # œ
5 5 3
4
4
4
2
5
III 4 sts 3
45 45
43
3
24 j ‰ œ n œ œœ b œ b œœ œœ 2
III
6 6
II
2
1
3
4
4
2
4
2
1
1
1
3
4
4
1
2
3
2 1
1
1
b
E 13 E13 F13 D D E 4 4
44 ‰ # œj n œ œ œ œ œ œ b œ Ó n˙
I 3 2
3 3
F7/A
3
œœ n œœœ
bb j œ nœ ‰ n bn œœœ #n # œœœ ‰ b Jœ n œ
A 13 A13 G G
2
3
6 3 6 7
35 3
3 6
6
3
5
6
3
3 3
6 6 5 5 4
7 7 6 6 5
8 8 7 7 6
11 11 10 10 9
12 12 11 11 10
1
bb fl œœ œ b œœ Œ
2
1
4
1
3
2
5
0
B 13 A
6
57
6
fl œ œ œ œ œ œ b œ œœ . n œœ ‰ J J 3
76
8
7
G 7 F7
4
1
4
A 7/G
j bœ œ 2
5 4
IV 4/6
bb Bdim b B 7/D B b7 B b7 Cj œ ‰ œœ # #n œœœ b b n œ b œ œ œ œj œ ‰ œ œ œ œ b œ œ V œ n œ . b œ œ . œ œ œœ . œœ ‰ b œœ # n œœ ˙ J J J J 0
4
2 1
8
j œ œ bœ œ œ ‰ b J œ œœ œ œ œœ Œ J Vb b J ‰ ‰ œ Œ ‰ J
33
1
VI 4/6
4
0
34
3 2
3
IV
I
3
F7/A
VIII 4/6 8
2
œ œ œ œ œ œ œj ‰ bœ . nœ œ . bœ J J
4
3
8 10
1
4
3
3
8 8
7
4 5 4
œ œ œ œ œœ. . nœ ˙ œ J 4
C-
VIII
8 7
6
G7/B
25
7
1
4
4
VIII
4
0
C-7
B7
2
IV
12 1
4
1 2 1
4
4
1
3
I
3
1
4
4
1
G7/B
A 7/C
A 7
4
1
21
III
b
b
Am7 ( b 5 )
C7( 5)/B
Cm11
13 13 12 12 11
j‰ Ó œ fl 1
4
6
The Petros Jumbo
B
ruce Petros has been building guitars since 1972. His son Matthew subsequently came aboard and has been building since 2000. The father and son team strive to squeeze out every possible bit of tone through inspirational, innovative and non-conventional thinking and techniques. Bruce and Matt create approximately 30 guitars per year.
Guitar Gallery
By Bill Piburn
The Petros Jumbo is the newest model in the Petros line and is their largest design to date. The body style is also used for their new Baritone guitar. The instrument pictured is the Jumbo “Applecreek” model. The guitar is made of master grade Indian rosewood and sitka spruce. Other features include wood binding, matching wood tuner buttons and topof-the-line Gotoh tuners. The guitar also has a bone nut and a fully compensated bone saddle. Other woods and features such as inlays, cutaways, etc. are also available. Body length Lower bout Upper bout Depth Scale length
20-1/2 in 16-5/8 in 11-1/2 in 4-5/8 in 25 in
Base price - $8,800.00 For more information: Petros Guitars 345 County Rd. CE Kaukauna, WI 54130 USA (920) 766-1295
[email protected] www.petrosguitars.com 58
