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CherryLaneMusicCompany Directorof Publications/Project Editor:Mark Phillips r s B N l ,- 5 ? 5 b u- 7 r a - 3 C o p y r i g h@ t 2 0 0 4C h e r r yL a n eM u s i cC o m p a n y I n t e r n a t i o nC a lo p y r i g hSt e c u r e d A I I R i g h t sR e s e r v e d T h e m u s i c ,t e x t ,d e s i g na n d g r a p h i c si n t h i s p u b l i c a t i oanr e p r o t e c t e d b y c o p y r i g hlta w .A n y d u p l i c a t i oonr t r a n s m i s s i o n , r e, c o r d i n o g r o t h e r w i s ei s, a n i n f r i n g e m e notf c o p y r i g h t . b y a n y m e a n s ,e l e c t r o n i cm, e c h a n i c apl ,h o t o c o p y i n g visit our websiteat www.cherryrane.com@
CONTENTS
4 4 5
Introduction Acknowledgments Notes Performance
I l4 23 29 36 42 48 54 59 65
Jubilee Alabama theBaker Angeline Rag Beaumont BillGheatham Blossom Blackberry GluckOldHen Annie Ragtime RedHairedBoy Reel St.Annens BeforeBreakfast Whiskey
70
GuitarNotationLegend
CD
TRACl(
LISTTNG
Alabama Jubilee
GluckOldHen
1. FullPerformance 2. Play-Along RhythmGuitarTrack Play-Along 3. Slowed-Down
14.FullPerformance 15.Play-Along RhythmGuitarTrack Play-Along 16.Slowed-Down
Argeline theBaker
Annie Ragtime
4.Soloperformance Beaumont Rag 5. FullPerformance Rhythm GuitarTrack 6. Play-Along Play-Along 7.Slowed-Down Bill Gheatham 8. FullPerformance Rhythm GuitarTrack 9. Play-Along Play-Along 10.Slowed-Down
BlackberryBlossom
17.FullPerformance Rhythm 18.Play-Along GuitarTrack 19'Slowed-Down Play-Along Red Haircd BOy 20.FullPerformance Track Rhythm Guitar 21.Play-Along Play-Along 22.Slowed-Down St. AnnetSReel 23.FullPerformance 24.Play-Along Rhythm GuitarTrack
Play-Along 25.Slowed-Down
11.FullPerfurmance
Rhythm Track WhiskeyBeforcBreakfast 12.Play-Along Guitar 13.Slowed-Down Play-Along
26.FullPeformance Rhythm Guitarlrack 27.Play-Along Play-Along 28.Slowed-Down
I]ITRODUGTION Th i s book is t he re s trl t o f re q tre s tsfro n r s u i tari sts r,vhclwant to learn nlv contest arrangelnents. All these tunes zrnclnrrangernents have been trsed bl'rne tcr udn l'arious trilditionarl nrrrsic grritar cortrltetitions th ro t r qhor r t t he U r-ri te c S l ta te s .So rrre o f' th e contests I have rvot-rrvith these tunes are the 2003 Sotrtl-r (l a rc r lina S t at e F la tp i c k i n q C h a n rp i o n s h i p s , the 2002 Natior-ral Flirtpickins (lharnpior-rships (\\'infielcl, Ka n s as ) , t he 2002 D o c \\' u ts o n C l tri ta r (l i ra m p i onshi ps at N{erlef'cst, the 2002 f}al:rx Olcl Ficlcller-'s (krn v ent ion, t he 1 9 9 9 \A ' a v n e(1 . H e n c l e rs o l l Grri tar Charnpionsl-rips (Rugbr'. \'ireir-ria), ancl rnaltv other co n tes t s helc l in V i re i n i a , N c l rth (l a ro l i n i r, T e rrnessee, and South flarolir-ra. In ar r anginu t h e s e tu n e s I tri c c l to n ra i n ta ri n thc' rnelodv ztnclpreserve the florv, blrt at the sanle tinre I triecl to ttse ASrnAn\1"qttitAL tricks" as possible. To this end, rvhen I arrangu ir.tune, I first leanr the rnelodt' in as manv locatior-rson the neck of ther gtritar as p o ss ible. I z r ls of in d a s l n i l n v v c rs i o n s o f' th e trrncs as I ca n . A nc l I get ide a s frc l n r o th e r i n s trtrm e n ts ; i r] fi rct, I strive to n()t listen to grritar versions so that I r'r,illnot sound like any otl-rer srritarist. I also lclok for lvh:rt I call the "skeletorl" of the ttrne; in other rvorcls, holr, man,v of the notes ir-rthe rnelodv czrn I leave out :rncl still recostrize it.?Or-rcc I harvefbrrncl the basic skeleton of'the rnelodv itr-rclthe locution of tl-rosc: notes, I beein looking fclr places rvherer I can insert g tri ta r t r ic k s : s lide s , h a rn rn e r-o rrs ,p rrl l -o fl i s ,b ends, o p e n s t r ing/ f r et t ec l n o te c o mb i n a ti o n s , c h romati c
i deas, i nten,al l i c phrascs, harrnoni cs, et c. Ther e is : r n endless catalog of mtrsical ideas that are specific to thc guitzrr, and votr shr>trlclbe familiar rvith all of thenr. All these irrrangclnents are r,l,ithin the reach
AGKNOWLEDGMENTS I'cl like to th:rnk: M, v s ons , Car s o r-r,A rrs ti n , a n d Al e x , fb r l o v e and e n cor lr agc m ent , z rn c lfo r- l te i n g s rrc h g r-e a ts ons. I couldn't irsk frrr finel s()lls :rnd fincr people tcl be a ro trnd. My mom and clacl for things too numerous to rn e n t ion. My , br ot her and s i s te r fb r y e a rs o f' e n c o u re rgernel rt and fclr :rlrvaystellinq nre that I cclrrlclclo it. Chelvl Ltrnsf
all of'the fine folks :rt Pantheon/Bourgeois guitars for btri l cl i nq some of the best gui tars fb und &r111vls.e.Bourseois guiterrsbring orrt the best in nrv plavine ancl creativi$: Steve Mcflreary at Collings for supporting the \\'alr-rtrt \hlley Festir,al and for btrilcling fine i nstrtrrnents. Mike Lille ancl Elixcr strinp;sfor the great Ni.rnon,ebs.I excltrsivelv trse Elixer Nanort'ebs string.s on all nry guitars. G'r'euttclne and feel from the tirne thev are put on the stritar. No waiting for the strings to break i n. \\':n'ne Flenderson in Rtreby, \rirginia, for buildinq s()nre fine instnlrncnts, irnd fbr sorne fine guitar pi cki ng. I f' ecl i ncr-edi bl t' fbrttrnate to have t he ()ppol'trrnitv to learn fr-onr great plavers and builders likc \A'al'ne. All the fine r-ntrsiciansfrorn rvhonl I've had the pl eastrre to " borrorv" gtri t:rr techni ques. The list is trerrren< l orrsl vl rl ng. \A'avne Dunfcrrd at FcltoExpo in Christiansburg, \tirgir-ria. \A'a1'1.'t a gl'eat friend, photographer, artist, and rnrrsi ci an.
PERFORMANGE NOTES ALABAMA
JUBILEE
This tune, along with "Ragtime Annie," is one that I can alrvayscount on to place rne in competitions. I trse everv t ec h n i q u e e x c e p t h a rm o n i c s i n thi s arransement. I also normally plav this tune at a ternpo of 140+ rvhen I compete. This is probablv the most challengins arransement in the book. It requires you to have a highly developed righthand technique, especially rvhen playing at the faster tempos, but it also rvorks well at slorver temp()s. The song kicks off r,vith the ttrmarotrnd and soes straigl-rt to the melodl'. The first section is straiehtforlvard, and it is not until vou get to the se c ond br eak t ha t th i n g s g e t h a rd e r. T h e s econd break is crosspickecl and there is a lot of string skipping-let the strings ring as long as possible to give a fuller sound. The lick at rneasure 28 is an intervallic type of lick. I borrorvecl the idea from.lazz saxophonists. The main thing to remember, as for all these arransenlents, is to play from chord positions. The third section begins at rneasure 38 and is straightforward. Pay attention to the recording to get the feel of the double stops at measures 42, 49, 50, 51, ancl 52. Listen to the recording to get the accents.
ANGELINE THE BAKER The Intro is somethine I came up with rvhile sittinq at a friend's hotrse-I thought it soundecl like a frasment of the rnelody. It is also a rvay of starting the tune without resortins to the standard "breakdolvn" type of Intro. The arrangement is fairlv straightforward. Try to maintain the florv of the melocly since this is a solo. You will note that there is not a rhythm track for this tune. The first tricky licks come in measures 35 ancl 39. After the initial bend, rake your pick back across the strings fretted at the 7th fret. This lick is derir,,ed from piano players and guitarists like Jerry Reecl and Jim Flurst, and I used it a lot when I played electric '90s. '80s guitar in country bands in the and The section beginning rvith measure 41 is reminiscent of Chuck Berry's licks or those of R&B gtritarists of the '60s. Measure 49 makes me think of a loose Steven Stills-type groo\re. Play this section loosely and don't pay too much attention to the open strings; yorlr focus should be on the fretted notes. Tr),to keep the dropped D ringing as much as possible to fill out the so u nd. T her e is a l o t o f c ro s s p i c k i n g i n th i s arrangement, and it will reveal any weaknesses in your riqht-hancl technique.
The song fir-rishesthe rvay it begins, rvith the openine chordal strtrcture. You should try to imitate' the sound of a slide suitar in the final chord of tl-resong. As in all the songs, listen to the recorcling to get the accents. In al l these transcri pti ons, t he accent s s( 'l the notes apart fiom-just a steady string ol l6th rt()t('\ I)on't let the tab scare you, because this arrangelnent is really one of the easier ones. Tlrc secret to this tune is to keep the open D ancl A stri nqs ri ngi nq i n a " drone-l i ke" fashi on. This hcl1r . fi l l out the si ngl e-note mel ody' l i ne. A s r vit h ar llof 't lr t ' arrangements in this book, play otrt of the cholrl positions-this will rnake the arrangements finscr' rnore easilv.
BEAUMONT
RAG
Thi s i s another arrangen r cnt t li: r t r : fai rl y si mpl e to pl al ' . The t hir ) s t ( ) kt 't '1r i n rni nd i s to keep the flor v uoing. There is a lot of crosspickingirr tlri. arrangement. A s rvi th al l crosspi cki ng , \ 'or r r ) t 't 'r l 1, , f i n c l t h e c h o r d s h a p e a n d h o l d d o u ' r - t : r l lt h r ' 1 ' 1 1 v 1 1 ' : . l the chord. In other words, don't reacltltc talr orrt' note at a ti me, but i n eroupi ngs of not es. F( ) r ' e x a m p l e , i n t h e G 7 c h o r d i n m e a s u r e 1 f J .r o t t l r , l r i dorvn the F note at the 3rd fret for tl -r ef r r ll r r r t 'r r \ ur ( ' r , l h i l e t h e o t h e r n o t e s m o v e a r o t r n d i t . [ . i s t c r rt o t l r t ' r e c o r d i n g f o r t h e a c c e n t s i n t h e c r o s s p i c k e c :l r ' r l i , , n A ccents hel p bri ng out a rnel ody l vhe n cr osslr ic'kir r , g. Be carefirl to let all the notes ring as lons u: possi bl e for the " fl oati ng notes" secti on begir r nir r , g. t t nreasure 34. " Fl oati ng notes" are combinat ior r s oI open stri nss and fretted notes; the ri neing ol) ( 'n strings produce a harp-like sound. One of the toughest parts of the sons is the diminished rtrn in meastrre 38; you can loclk Iirr' other fineerings to make this run easier, but I'r c tabbed it the rvay I play it. Meastrres 50 throush 53 shoul d be cr osspicker l. Look at the finger groupings in each measrlre, uncl just slicle them down the neck; then plav measru'(' 54 as a tremolo. It's fairly tough to go from the crosspicking in lneasrlre 53 to the trernolo in 5-1arrrl rnaintain timing. As with all the songs, work u'ith a metronome set to a slorv tempo, and rvork trp to a fast tempo. The encling tag in the last three measures can bc' plaved rvithout accompaniment. Again, as n'ith all the sonss, listen to the recordirrg to get an idea of the accents.
BILL CHEATHAM This arrangement is fairly straightforward and shouldn't pose many problems. It opens with a statement of the basic melody. In measure 19 I begin a break using "floating" pelss-you should strive to keep the strings ringing as long as possibleto achievethe "floating" sound. In measures31, 63, and 65 the slashesindicate that that section is to be played using tremolo or very fast strumming. Giving the notes their full valueswill help with the flow of this and all arrangements in this book. The thing to keep in mind is that, in all the sections,you should maintain chord shapeswherever possible;doing so will help keep notes ringing and help fill out the song. The trickiest part of the song occurs in measures 5l-58, where I play the tune using harmonics. Harmonics are representeclby diamond-shaped notes and are played by lightly touching a string directly over top of the fret indicatecl in the tab. Trying to make these harmonics loud and clear is difficult at the faster tempos at which this piece is normally played. The song is fairly straightforward after this point. Again, listen to the recording to get an idea of the accents.
BLACKBERRY BLOSSOM This arrangement begins with the basic melody, which is augmented only slightly in measures6 and 7. Pay attention to the record.ing to get the feel of the "B" section beginning at measure 10. In measure 18, the open G string allows you to move up the neck without breaking the flow of the tune. This is a trick used by lots of guitarists.The open string rings while the hand is changing positions. The "floating" section, which begins at measure 34, is played by holding the chord shape and sliding it down the neck while allowing the open strings to ring. Measures44 and 45 should be played as one long run to maintain the flow. Let the notes ring into each other to achievethat "floating" sound. The ending, which begins with the last measure of the "B" section,is played as one long grouping. This is one of the most often-played tunes in the fiddle tune repertoire, and the first tune I learned many years ago.
CLUCK OLD HEN "CluckOld Hen" is an old-timemodal tune with both a major and minor feel. It's good for learning to use the pentatonic scale to improvise. It's similar to such tunes as "Big Mon," "Wheel Hoss," and others that Lrsea flat-7th chord. The bends can be played, alternatively, using slides or "hammer-ons." As in all the tunes in this book, let the notes ring for their full values. Listen to the recording to get an idea of the exact rhythms. Guitarists familiar with pentatonic and blues scales will find this arrangement very "finser friendly." Improvising over this progression is easy when using the G blues scale in its various positions.
RAGTIME ANNIE Pay attention to the rhythmic groupings and listen to the recording to get the rhythmic nuances.This is a dance tune and, as such, should be played rvith dancers in mind. It needs a strong right-hand technique becauseof the crosspickinginvolved. As with all the tunes in this book, you should let the notes ring for their full values,if not longer, to give the song a full sound. This arrangement is a crosspickingtour de force and requires right-hand precision. The piece can be crosspickedusing strict alternate picking or the "DDU" pattern used by crosspickinglegends George Shuffler andJames Allen Shelton. This pattern createsa slightly different sound but also makes it more difficult to achievethe same speed that can be obtained rvith alternate picking. Depending on the sound I want to achieve,I use both picking patterns.
RED HAIRED BOY This versionis rather basicand should be accessibleto all beginning and intermediate guitarists-there are no difficult techniques used. The last section is played mostly with hammer-onsand pulloffs and servesas a good exercise for those techniques.The second break is played mainly around the 7th fret. For the Chorus in the second section, try to think like a mandolinist to get the feel of the chordal section and play it loosely.Listen to the recording to get the accents. The section beginning at measure 65 may be challenging for some guitarists,as it contains numerous hammer-onsand pull-offs.The challenge is to maintain the volume of the slurred notes. With pull-offs this can be achieved only through proper technique; that is, pull and lift rather than simply lift.
S T . AN N E ' S R E EL This tune is very accessible to beginning students. The first section is playecl slowly. Listen to the recording to get an idea of the f'eel. Pay particulai attention to pitch when bending the lst strins at lneasure 5. At measure 10, the song begins at the indicated tempo, and the rhythm track begins here. This arrangement is fairly basic until you get to the second section beginning at measure 43. The triplets are played usins the hammer-on, pull-off technique. The triplet in measrlre 58 is play'ed using pull-offs. The "B" section is played using the "floating" chord shapes approach. These chords move around a lot; practice slowly to get the notes to ring out clearly. For all crosspicked tunes, pay attention to the accents to bring out the melody. This tune is played out of chord shapes, some of which may be unfamiliar. The key to making this arrangement sound smooth is to find those shapes and hold them down. Listen to the recording to get an idea of where the accents fall.
WHISKEY BEFORE BREAKFAST Your guitar should be in drop-D tuning for this arrangement. Normally this song begins with a pickup (one or more notes immediately before a bar line that begin a melody or phrase). But I have not u sed one her e. The first two bars of the song and most of the melody are scalar in structlrre. The first break is played mainly from first position open chord scale forms. I've stayed with the melody, and any deviations are diatonic in nature (all the notes are co nt ained wit hin th e k e y ). T h e s l i d e i n me asure 21 does not originate from any particular note, although I normally slide from the D at the 3rd fret. I've inserted two endings for the first break to demonstrate two possible ways to end one break and lead into another. The first takes you back to the first note of measure 1, while the second leads into the second break-you can use either ending, depending on the arrangement you want to use. The 32nd note figure at the end of ending I would be considered a pickup figure. Most fiddle tunes end on the first nore of the final measure or the thircl note of the final measure of the break, which leaves one or two beats for the pickup. If you are in ajam situation and want to use one of these breaks, you can use a pickup or just begin on beat 1 of the break. The second break begins at measure 35. Its first section, which runs to measure 50, is played in 7th position. The second section of this break, which starts at measure 52, begins in 1Oth position.
Measures 54 and 55 are played using harmonics. Measure 56 begins a sequence of descending 6th intervals-1hs1, nrove diatonically down the fretboard. The section then repeats. The third break begins at measure 68 and is basecl on the open string sound called "floating." I've indicated that you should let the strings ring into one another. This section is easier if you notice the note groupings and play as if you are holding chorcls 'oB" or chord fragments. The section of this break should be played in a similar fashion. Let all the notes ring for their full values. Note that measures 100-104 are a Tag to provide an ending for the song. I've stayed close to the melody in this arrangeltre llt and used predominately notes contained within thc D major scale. I've done this to show the enorrlorrs possibilities that are contained within a scale. Yotr cun use rhythmic variety to add interest, as well as strch guitar tricks as harmonics, "floating" notes, and sltrrs (hammer-ons, pull-offs, and slides), but there are many other possibilities as well. You can use pedal tones and play the melody against these. You can even play the melody using harmonic interr.,alsstrch as 3rds, 4ths, 5ths, octaves, etc. An interesting ancl challenging exercise is to take every other note iu)(l raise or lower it an octave.
ALABAMAJUBILEE Words by Jack Yellen Music by George Cobb
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Here, forthefirsttimeinprint, arethechampionship flatpicking arrangements thathavewonScottForenumerous national competitions. Theaccompanying full-length CDcontains recordings played ofeachofScott's arrangements, byScotthimself, ?swell asplay-along rhythm tracks, bothattempo andslowed down. manycontest victories ScottFore's include (2003), theSouth Carolina StateFlatpicking Championships (2002), theNational Flatpicking Championships theDocWatson Guitar (2002), Championships (2002), theGalax OldFiddler's Convention (1999), andtheWayne C.Henderson Ghampionships Heteaches flatpicking master throughout classes theUnited States. Hehasrecorded a self-titled soloCD. Alabama Jubilee Angeline theBaker Beaumont Rag BillCheatham Blackberry Blossom Cluck OldHen Ragtime Annie RedHaired Boy St.Anne's Reel Whiskey BeforeBreakfast
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flatpicking Here, forthefirsttimeinprint, arethechampionship national thathavewonScottForenumerous arrangements full-length recordings Theaccompanying CDcontains competitions. played byScotthimself, ?swell ofeachofScott's arrangements, rhythm andslowed down. tracks, bothattempo asplay-along include manycontest victories ScottFore's (2003), theSouth Championships StateFlatpicking Carolina (2002), theDocWatson theNational Flatpicking Guitar Championships (2002), (2002),the Convention Championships Galax OldFiddler's (1999). Heteaches andtheWayne Ghampionships G.Henderson flatpicking master throughout theUnited States. classes Hehasrecorded a self-titled soloCD. Alabama Jubilee Angeline theBaker Rag Beaumont BillCheatham Blossom Blackberry Cluck OldHen Annie Ragtime Boy RedHaired Reel St.Anne's Whiskey BeforeBreakfast
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