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Magazine Volume 17, Number 4 May/June 2013
The Waltz Waltz Issue!
Featuring: Mickey Abraham Paige Anderson Bradley Bradle y Carter Car ter Mike Cramer Dan DeLancey Nick DiSebastian Tim Harbin Andy Hatfield Dan Huckabee Adam Granger Tyler Grant Aaron McCloskey Tim May Dan Miller Bill Neaves Steve Palazzo Rob Pearcy Adam Schlenker Jordan Tice T ice Tony Watt Watt Jake Workman Workman
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CONTENTS
Flatpicking Guitar
FEATURES
Contributor’s Bios The Waltz Issue by Dan Miller
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Magazine COLUMNS Volume 17, Number 4 May/June 2013 Published bi-monthly by: High View Publications P.O. Box 2160 Pulaski, VA 24301 Phone: (540) 980-0338 Fax: (540) 980-0557 Orders: (800) 413-8296 E-mail: highview@atpick.com Web Site: http://www.atpick.com ISSN: 1089-9855 Dan Miller - Publisher and Editor Connie Miller - Administration Jackie Morris - Administration Contributing Editors: Dave McCarty Chris Thiessen
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Angel Band Arranged by Dan Huckabee Be Thou My Vision Arranged by Mike Cramer Canyon Moonrise Arranged by Nick DiSebastian Chez Seychelles Arranged by Tim May Farewell To Whiskey Arranged by Adam Schlenker Festival Waltz Arranged by Rob Pearcy Forest Waltz Arranged by Jordan Tice Goddess Waltz Arranged by Dan Miller High Country Waltz Arranged by Bradley Carter Josephine’s Waltz Arranged by Steve Palazzo Kentucky Waltz Arranged by Jake Workman Leonard Finseth’s Waltz Arranged by Adam Granger Lover’s Waltz Arranged by Tim Harbin Memories Waltz Arranged by Dan DeLancey Midnight On The Water Arranged by Aaron McCloskey Open Pit Mine Arranged by Paige Anderson Ookpik Waltz Arranged by Bill Neaves Roxanna Waltz Arranged by Andrew Hatfield Tennessee Waltz Arranged by Mickey Abraham The Blackest Crow Arranged by Tony Watt Waltz for Charles Grant Arranged by Tyler Grant
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Reviews
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All contents Copyright © 2013 by High View Publications unless otherwise indicated Reproduction of material appearing in the Flatpicking Guitar Magazine is forbidden without written permission Printed in the USA
Cover Photo by Jane Accurso
Flatpicking Guitar Magazine Podcast We are now broadcasting a new Podcast every month
Interviews, fatpicking tunes, and more. Check it out: http://www.fatpick.com/podcast.html 2
Flatpicking Guitar Magazine
May/June 2013
The Flatpicking Essentials Series
Flatpicking Essentials Volume 1: Rhythm, Bass Runs, and Fill Licks In the “Pioneers” issue of Flatpicking Guitar Magazine Dan Miller laid out a atpicking learning method that followed the chronological developme nt of the style. This step-by-step method started with a solid foundation in the rhythm guitar styles of atpicking’s early pioneers—a style that includes a liberal use of bass runs and rhythm ll licks, combined with rhythmic strums. Volume 1 of the Eight Volume Flatpicking Essentials series teaches this rhythm style and prepares you for each future volume. If you want to learn how to add interesting bass runs and ll licks to your rhythm playing, check out this 96-page book with accompanyi ng CD. This book and CD are available in spiral bound hardcopy form, on CD-Rom, or as a digital download.
Flatpicking Essentials Volume 2: Learning to Solo—Carter Style and Beyond
Hardcopy: $24.95 Digital: $19.95
The second book in the Flatpicking Essentials series teaches you how to arrange solos for vocal tunes by teaching you how to: 1) Find the chord changes by ear. 2) Find the melody by ear. 3) Learn how to arrange a Carter Style solo. 4) Learn how to embellish the Carter Style solo using one or more of the following techniques: bass runs; hammer-ons, pull-offs, slides, & bends; tremelo; double stops; crosspicking; neighbori ng notes; scale runs and ll-licks. Even if you are a beginner you can learn how to create your own interesting solos to any vocal song. You’ll never need tab again! This material will also provide you with the foundation for improvisat ion. This book and CD are available in spiral bound hardcopy form, on CD-Rom, or as a digital download.
Hardcopy: $24.95 Digital: $19.95
Flatpicking Essentials Volume 3: Flatpicking Fiddle Tunes Flatpicking and ddle tunes go hand-in-hand. However, in this day and age too many beginning and intermediate level players rely too heavily on tablature when learning ddle tunes. This becomes a problem in the long run because the player eventually reaches a plateau in their progress because they don’t know how to learn new tunes that are not written out in tablature, they do not know how to create their own variations of tunes that they already know, and it becomes very hard to learn how to improvise. Flatpicking Essentials, Volume 3 helps to solve all of those problems. In this volume of the Flatpicking Essentials series you are going to learn valuable information about the structure of ddle tunes and then you are going to use that information to learn how to play ddle tunes by ear, and create your own variations, utilizing the following a series of detailed steps.
Hardcopy: $24.95 Digital: $19.95
Flatpicking Essentials Volume 4: Understanding the Fingerboard and Moving Up-The-Neck The fourth book in the Flatpicking
Essentials series teaches you how to become familiar with using the entire ngerboard of the guitar and it gives you many exercises and examples that will help you become very comfortable playing up-the-neck. With this book and CD you will learn how to explore the whole guitar neck using a very thorough study of chord shapes, scale patterns, and arpeggios. You will also learn how to comfortably move up-theneck and back down using slides, open strings, scale runs, harmonized scales, oating licks, and more. If you’ve ever sat and watched a professional players ngers dance up and down the ngerboard with great ease and wondered “I wish I could do that!” This book is for you!
Flatpicking Essentials Volume 5: Improvisation & Style Studies
Hardcopy: $29.95 Digital: $24.95
Are you having trouble learning how to improvise? To many atpickers the art of improvisation is a mystery. In the 5th Volume of the Flatpicking Essentials series you will study various exercises that will begin to teach you the process of improvisation through the use of a graduated, step-by-step method. Through the study and execution of these exercises, you will learn how to free yourself from memorized solos! This Volume also includes “style studies” which examine the contributions of the atpicking legends, such as Doc Watson, Clarence White, Tony Rice, Norman Blake, Dan Crary, Pat Flynn, and others. Learn techniques that helped dene their styles and learn how to apply those techniques to your own solos.
Flatpicking Essentials Volume 6: Improvisation Part II & Advanced Technique
Hardcopy: $29.95 Digital: $24.95
Flatpicking Essentials, Volume 6 is divided into two main sections. The rst section is Part II of our study of improvisation. Volume 5 introduced readers to a step-by-step free-form improv study method that we continue here in Volume 6. The second section of this book is focused on advanced atpicking technique. We approached this topic by rst having Tim May record “advanced level” improvisations for nineteen different atpicking tunes. Tim selected the tunes and went into the studio with a list of techniques, like the use of triplets, natural and false harmonics, note bending, quoting, alternate tuning, syncopation, twin guitar, minor key tunes, hybrid picking, advanced crosspicking, string skipping, etc. There are a ton of absolutely awesome atpicking arrangements by Tim May in this book, with explanations of each technique.
Hardcopy: $29.95 Digital: $24.95
Flatpicking Essentials Volume 7: Advanced Rhythm & Chord Studies Flatpicking Essentials, Volume 7 is a 170 page book, with 67 audio tracks, that will show you how to add texture, variety, and movement to your rhythm accompaniment in the context of playing bluegrass, ddle tune music, folk music, acoustic rock, Western swing, big band swing, and jazz. The best part of this book is that it doesn’t just present you with arrangements to memorize. It teaches you how you can create and execute your own accompaniment arrangement s in a variety of musical styles. Don’t rely on the arrangements of others, learn a straight-forward and gradual approach to designing your own rhythm accompaniment.
Hardcopy: $29.95 Digital: $24.95 Flatpicking Guitar Magazine
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Flatpicking Essentials
EDITOR'S PAGE Our 100th Issue! Welcome to the 100th issue of Flatpicking Guitar Magazine! I want to thank each and every one of you who have supported us with your subscription, especially those who have been with us for many years. We could not have been publishing this magazine for so long without your support. I hope you will continue to support us in the future. We will work hard to keep providing you with the atpicking information, stories, history, technique, and tunes that you want to see. If you have any feedback for us, be sure to let us know. For this 100th issue we decided to publish a special waltz issue. Instead of our regular cast of columnists, I asked a talented group of guest columnist to contribute to this issue. We don’t have much text, or many advertisements, in this issue because I wanted to pack it full of tunes. We have 21 waltzes for you to work with in this issue. I hope that you enjoy learning these tunes!
The 50 Greatest Guitar Books: Instructional Methods That Every Guitarist Should Own A new book recently was published by Shawn Persinger which listed the “50 Greatest Guitar Books.” I’m happy to report that the Flatpicking Essentials books written by myself and Tim May were included in this book. The author mentioned the entire series in his book, but focused on reviewing Flatpicking Essentials Volume 1: Rhythm, Bass Runs, and Fill Licks. The book reviews guitar books from all genres of music and is available at www.GreatestGuitarBooks.com.
The Flatpicker’s Guide to Old-Time Music
(800) 413-8296 www.flatpickingmercantile.com 4
Tim May and I are getting ready to release a new book titled The Flatpicker’s Guide to Old-Time Music. This book teaches atpicking arrangements to ten Old-Time tunes, with two arrangements of each tune. The rst arrangement is the simple melody and the second arrangement is a more advanced improvised solo. Included in this book is a very extensive section on Old-Time rhythm ideas and a rhythm arrangement example for each of the ten tunes. Anyone who is interested in improving their rhythm technique will be thrilled with the very extensive and well organized presentation of various bass run ideas. Note: This is probably not a book for the Old-Time music purist. Our goal here was to teach modern atpickers how to approach Old-Time tunes, so we expand a bit beyond the traditional Old-Time back up techniques and lead lines. Many of the back up techniques that we show in this book would probably be too busy in a full bluegrass band setting, but are ideal for duo and trio ensembles that do not include a bass. If you play in a duo or trio with mandolin, banjo, ddle, or another guitar, then you will love the rhythm accompaniment portion of this book. This book will be released by the end of May 2013.
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May/June 2013
Flatpicking Guitar Digital Academy Flatpicking Guitar Digital Academy is an amazing self-contained software environment where you can browse, purchase, instantly download, and enjoy high quality atpicking video titles. You get every bit of the quality of a DVD, and in some cases better! We currently offer over 70 atpicking guitar titles from Flatpicking Guitar Magazine, Homespun, Mel Bay, Accutab, and more! Learn instantly from Tony Rice, Doc Watson, Bryan Sutton, David Grier, Tim Stafford, Wyatt Rice, Dan Crary, Norman Blake, Tim May and many others. And we will continually be adding new titles!
Go to: http://www.atpick.com/digitalacademy/
Study with your Flatpicking Heroes Instantly, at Home, High Quality, on your Computer! Over 70 Video Titles Now Available!
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About The Waltz Issue Contributors Mickey Abraham: Mickey has emerged as one of Florida’s most recognized acoustic musicians and instructors. He is a youth orchestra director, a performer, and a writer fo r Flatpicking Guitar Magazine . Mickey’s creative methods of teaching, playing, and promoting acoustic music have earned respect from David Grisman, who sells Mi ckey’s CD as a download, and Joe Craven, who comments, “Mickey’s enthusiasm for sharing music inspires his students, that’s the hallmark of a great teacher.” Apart from recording and performing with some of Florida’s rst-rate musicians (Larry Rice, Aaron O’Rourke, Gabe Valla) perhaps most appreciable is Mickey’s work with hi s Acoustic Ensemble. These talented high school students, under Mickey’s direction, travel to music festivals performing bluegrass, new-grass, tango, and even acoustic-pop! Perhaps Dan Mil ler himself sums it up best, “I predict that in the future you will not only hear a lot of great music from Mickey, but you will hear other talented players who’ll say ‘I learned from Mickey Abraham.’” Paige Anderson: Paige Anderson started playing guitar and atpicking at the age of 9 years old (2004) with her family, Anderson Family Bluegrass. They have traveled the United States as a family band and performed at many festivals and events including Hardly Strictly Bluegrass, IBMA, CBA’s Fathers Day Festival, and more. Paige is now starting her own musical journey with her siblings Aimee and Ethan, forming Paige Anderson & The Fearless Kin, a bluegrass/folk group playing original material. www.TheFearlessKin.com
Bradley Carter: Bradley Carter is an Asheville, N.C. based musician who likes a lot of variety. A guitarist inuenced and versed in Bluegrass, Jazz, Rock, and Classical. A bluegrass banjoist who likes to play wit h the traditionalists as well as the j amgrassers. A composer who has scored several documentaries. An educator committed to unraveling the mystery of musical improvement. Add to that list old time ddle, harmonica, and clogging and you start to get an idea of what Bradley is up to. Bradley is currently performing solo and playing banjo with newgrass band Sanctum Sully. Look for a show in Western North Carolina, East Tennessee, and Southern Virginia.”
Mike Cramer: Mike Cramer is an award-winning performer and educator. A stylistically versatile multi-instrumentalist, Cramer has shared the stage with or opened for John Hartford, Steve Kaufman, B.B. King, Tommy Castro, Chris Duarte, Gordon Goodwin, and Terell Stafford. Cramer’s current project is producing the Mandolin Play-Along Series for Hal Leonard. He also contributes lessons to Premier Guitar Magazine and produces video lessons available from his website. His most recent CD release, Open Spaces , is a collection of original and traditional acoustic pieces. For more information, visit all12not es.com
Dan DeLancey: Dan’s earliest exposure to Old Time String Band and Bluegrass music began at a very early age as he listened to his mother and other family members play on various instruments; and, he learned to play rhythm guitar from listening to and playing along with a family collection o f records. An interest in atpicking lead guitar was sparked when he heard Doc Watson and Dan Crary on public radio in the 1970’s. Thirty years later Dan has gained recognition as a seasoned atpicker known for his uid style and original arrangements, some of which have appeared in Flatpicking Guitar Magazine and Mel Bay Publications. Dan has won State Flatpicking Championships for Missouri, Kansas and Oklahoma; he also placed 2nd in the early years of the reputable Steve Kaufman Guitar Contest and won the prestigious Rocky Grass Flatpick Guitar Championship in Lyons, CO in 1998. He continues an active performance schedule with the Thomas/DeLancey Band and offers atpicking workshops as time permits.
Nick DiSebastian: Nick DiSebastian is a multi-instrumentalist specializing on the guitar. He holds a bachelors degree from Berklee College of Music where he studied with John McGann, amongst many other great musicians. Nick currently resides in Nashville, TN working as a freelance musician. Visit www.nickdisebastian.com for more info.
Adam Granger: Adam Granger has played the guitar since 1959, having taught himself in his native Oklahoma. He started teaching and performing professionally in 1962. In 1974, Granger moved to Minnesota, where he became a charter member of the Powdermilk Biscuit Band, the rst house band for Garrison Keillor’s A Prairie Home Companion . For the last decade, Adam’s creative focus has been on writing and performing original material, and on writing books and articles on music in general and the atpick guitar technique in particular. He has been a columnist for Flatpick Guitar Magazine since its start in 1996. His book and CD set, Granger’s Fiddle Tunes for Guitar , is the largest collection of ddle tunes in guitar tablature in the world. Adam Granger has taught rhythm and lead guitar, stage presence, songwriting and ear training for thirty-ve years. He has offered private instruction at Minneapolis’ Homestead Pickin’ Parlor since it opened in 1979 and also teaches at his St Paul home. 6
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About The Waltz Issue Contributors (con’t) Tyler Grant: National Flatpicking Champion Tyler Grant is a versatile guitarist and multi-instrumentalist with a wide range of musical expertise. He is an internationally recognized guitar virtuoso with three solo albums and an impressive resume as a session musician, bandleader and sideman. He has shared the stage with such l uminaries as Tony Rice, Sam Bush, Tim O’Brien, Jerry Douglas, Chris Thile, John Oates, Steve Kaufman, Rol and White, David Grier, Leftover Salmon, Yonder Mountain String Band and The String Cheese Incident. Tyler showcases his powerful and original style of Flatpicking on his CD release, Up the Neck. He calms things down with his latest solo release, Desert Songs-Toneful Guitar Music for Relaxation and Massage . Tyler has performed at most major US festivals and performed thousands of concerts worldwide. In addition to the National Flatpicking Championship at Wineld in 2008 and Merlefest Doc Watson Guitar Championship in 2009, Tyler has also won the Rockygrass, Wayne Henderson, and the New England Flatpicking Championshi ps. Tim Harbin: East Tennessee native Tim Harbin has been a staple of the Knoxville TN music scene for more than 37 years. Inspired by his guitar playing uncle and fellow bluegrass musicians at his high school, he began learning to play guitar at age 16 and soon found himself performing with his mentors in a bluegrass band called the Copper Ridge Runners. Much of his inspiration came from guitar greats such as Doc Watson, Norman Blake, Dan Crary, Mark O’Conner and local National Flatpi cking Champ, Steve Kaufman. By 1980 he was taking weekly lessons from Steve, which would continue for t he next decade. During that time Steve’s habitual contest picking rubbed off on him and he begin playing in guitar contests across the southeast, while he continued to perform in countl ess regional bluegrass and old-time bands. In recent years Tim’s contest playing has somewhat tapered off, but he continues to perform with his wife Jodi and other local musicians in the Knoxville area. Andy Hatfeld: Andy Hateld is a creative teacher and musician from Peoria, IL, where he averages 55-60 students a week on guitar, banjo, and mandolin. He performs locally with Applegate and Company, who, celebrating 40 years, are the longest running band in the area, with alumni Mitch Corbin and Suzy Bogguss to their credit. Andy was the 2011 National Flatpick Guitar Champion, and runner-up in the 2012 National Mandolin Championship. He loves t o play bluegrass, jazz, and rhythm and blues. Andy will be teaching June 9-15, 2013 at Kaufman Kamp in Maryville, TN.
Dan Huckabee: Dan Huckabee is the 1976 National Dobro Champion and the President of Musician’s Workshop CD and DVD Music Instruction Company. Dan has recorded 5 solo albums and toured with several professional bluegrass bands, but has spent more time creating music instruction material than performing. Musician’s Workshop started producing cassette music lessons in 1973. The rst Musician’s Workshop product was a collection of Josh Graves most popular dobro solos. From th ere the company started teaching other instruments and concepts, wit h special purposes and teaching systems being the primary focus. Now over 35 years have passed and Musician’s Workshop offers over 2,000 music instruction products with bluegrass guitar being one of the main specialties. Aaron McCloskey: Massachusetts native Aaron McCloskey rst picked up the guitar in college and has rarely put it down since. He began studying jazz, blues, and folk music, but quickly discovered his passion for bluegrass. Aaron graduated from the commercial music program at South Plains College in Levelland, Texas, where he honed his bluegrass chops with Joe Carr and Alan Munde. Aaron maintains a busy schedule pl aying with “aka Laser Bunny”, “The Creekside Entertainers”, “Steve Itterly”, “The Bl ue Mountain Ranch Hands”, as well as solo and duo shows. He was featured in the May 2010 issue of Flatpicking Guitar Magazine for his work with “Steve Smith and Hard Road”. Aaron lives in Lyons, Colorado where he can be found hiking, y- shing, and teaching guitar at the Swallow Hill Music School in Denver. Tim May: Tim is one of Nashville’s acoustic guitar “go-to guys.” For fteen years Tim focused on his job as the guitar player for the Nashville-based bluegrass band Crucial Smith. When that band broke up in 2002 the job offers started pouring in. Highlights include touring with Patty Loveless, touring with Eddie Rabbit, touring Japan with John Cowan, playing on the all-star Rounder project Moody Bluegrass (and performing with the Moody Blues band at the Ryman Auditorium), performing on the Grand Ole Opry dozens of times wit h Mike Snider, and recording a bluegrass gospel project with Charlie Daniels. Additionally, FGM Records has released Tim’s solo CD Find My Way Back and Tim is also featured in a FGM Records concert DVD, Live in Kansas City , with Brad Davis and Cody Kilby. In 2010 Tim released a duo CD with violinist Fred Carpenter. That CD reached number one on the folk radio charts in September of 2010. In 2011 the trio of Brad Davis, Dan Miller, and Tim May released a CD titled Doves, Crows, and Buzzards, which has received rave reviews. In 2012 the Nashville Scene’s reader’s poll voted Tim the “Best Instrumentalist” in Nashville. Dan Miller: Dan Miller has been the publisher and editor of Flatpicking Guitar Magazine since 1996. He has also co-author ed a number of atpicking books, including: “The Bluegrass Guitar Style of Charles Sawtelle” with Charles Sawtelle, “Flatpicking the Blues” with Brad Davis, “The Guitar Player’s Guide to Developing Speed, Accuracy and Tone” with Brad Davis, and the Eight Volume atpicking course “Flatpicking Essentials” with Tim May. Dan Miller and Tim May have also produced three instructional DVDs for guitar players: “Improving Speed, Accuracy, and Tone,” “Creating Solos,” and “An Approach to Improvisation.” Most recently Dan Miller and Tim May have released two new books that focus on fundamental skills: “The Guitar Player’s Practical Guide to Scales and Arpeggios,” and “The Mandolin Player’s Practical Guide to Scales and Arpeggios.” Tim May and Dan Miller have been performing in a trio with their good friend Brad Davis (Davis Miller May) since 2005 and have been performing together as a duo since 2007. Dan and Tim also spend a good deal of time each year traveling the country and teaching guitar and mandolin workshops. Dan’s rst solo CD was released by FGM Records in April of 2013.
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About The Waltz Issue Contributors (con’t) Steve Palazzo: Steve’s rich amalgam of traditional bluegrass, blues and old-time country music, along with an enormous repertoire speak to a lifetime immersed in playing, building and teaching acoustic guitar. His mastery of American Roots guitar styles and heartfelt vocals always make for a compelling performance. A highly sought after teacher, Steve has taught at numerous music camps across the country while simultaneously cultivati ng and maintaining a prodigio usly successful private teaching practice in Santa Cruz, California, since the late 1980’s.
Bill Neaves: Bill Neaves teaches guitar and mandolin at his music studio in Missoula, MT. He performs with his ve piece bluegrass band, Pinegrass, and enjoys hiking and shing with his family in the magnicent mountains of Montana. Bill can be contacted via email at:
[email protected]
Rob Pearcy: Rob Pearcy is a guitarist/multi-instrumentalist and music educator currently with the Blair School of Music at Vanderbilt University. Rob has competed at festivals and conventions across th e US since 1980 and has won literally hundreds of contests on a variety of i nstruments. Recently, Rob’s group, The Slim Chance Band, took t op honors at the Smit hville Jamboree and at the Tennessee Valley Old Time Fiddlers Convention. Rob is in high demand as a “back-up” guitarist, often accompanying dozens of competitors at the contests. Rob has found a fair amount of success performing his arrangements of waltz tunes on guitar and mandolin. The version of “Festival Waltz” which is featured in this issue was played on guitar in the nals at Rocky Grass when Rob won rst place in 2006. Adam Schlenker: Adam Schlenker is a atpick guitarist from southern West Virginia who is currently based in Columbus, Ohio. In addition to teaching full time he works as a guitar and mandolin player for regional touring acts as well as doing session work. Desiring to expand on his teaching, Adam founded 5th Fret Productions in 2009. The idea was to combine online, video based lessons with one-on-one lessons. He has been working with an ever expanding number of atpick students around the world. Adam continues to teach group classes for Ohio State University as well as specialty clinics and solo performances. In late 2012 Adam released the album Family Tree, a collection of his arrangements as well as a handful of original songs. Family Tree has been well received and has proved to show Adam’s inuences as well as his own unique approach to making music. Jordan Tice: Hailing from Annapolis Maryland, Jordan Tice is an innovative atpicker and prolic composer of acoustic music. The son of two bluegrass musicians, he grew up playing with various bluegrass bands and singer/songwriters around Maryland until 2005 when he enrolled at Towson University to study music composition on full scholarship. He released his debut recording of original music at the age of 17 on Patuxent Records and has since released 2 more recordings of his music to great reviews. He has either performed or recorded with Mark Schatz and friends, Frank Wakeeld, Darol Anger, and Tony Trischka. He has been featured on the cover of Flatpicking Guitar Magazine and recently played the music of Steve Martin commissioned for New York City’s esteemed “Shakespeare in the Park” series in Central Park in Summer 2012. He currently li ves in Brooklyn, NY and leads the Jordan Tice Trio featuring Paul Kowert on bass and Simon Chrisman on Hammered Dulcimer, whose debut recording The Secret History (2012) is currently garnering very positive press. He also performs in a trio with ddler Brittany Haas and Paul Kowert, with the group “4tet”, as well as with Tony Trischka, The Footworks Percussive Dance Ensemble, The Depue Brothers Band, Lily Henley, and Mariel Vandersteel. Tony Watt: Award-winning atpicking guitarist and mandolinist Tony Watt has performed throughout the United States and Europe, on the Grand Ole Opry, and elsewhere. He has been featured in Bluegrass Now Magazine and Flatpicking Guitar Magazine, and toured and recorded with Nashville-based Cages Bend, east Tennessee-based Meridian, with Rounder Recording artist Alecia Nugent, and most recently with Leigh Gibson, guitarist for The Gibson Brothers. Tony currently performs with his band, Southeast Expressway, and with Laura Orshaw & The New Velvet Band. He has taught privately for over 15 years, and now teaches courses in blu egrass guitar and mandolin for the Boston Bluegrass Union’s Bluegrass Academy, as well as jamming classes as a certied Wernick Method jam class instructor. He has also taught workshops and Kids’ Academies at bluegrass festivals including Grey Fox, Joe Val, Thomas Point Beach, and many more. Tony currently teaches lessons, classes, workshops and jam sessions in Albany, NY, Cambridge, MA, and points in-between. Jake Workman: Jake Workman is a musician based in the Salt Lake City, UT area where he regularly performs, does studio wo rk and teaches guitar, banjo and mandolin to about 50 students a week in person or through Skype. Jake plays with “Driven” based out of Eastern Kansas, and his Salt Lake based groups, “Cold Creek”, “Bluegrass Rising” and “The Aaron Ashton Band”. He is the 2010 Texas State Flatpicking Champion, and has made the top 5 at Wineld on both guitar and banjo. He acquired a degree in Jazz Guitar Performance from the University of Utah in 2011. Jake is most heavily inuenced by traditional blu egrass, though does branch out into other genres often.
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Flatpicking Guitar Magazine
May/June 2013
The Waltz Issue by Dan Miller Welcome to the Waltz Issue! After publishing 100 issues of Flatpicking Guitar Magazine, I thought is was about time that we featured waltzes. We have included the occasional waltz here and there in this magazine over the years, but we really haven’t had that many when compared to the volume of other tunes we’ve featured. We are xing that with this issue by providing you with twenty-one waltzes. Most of these waltzes we feature here include two arrangements—one beginning level and then other more challenging. I love playing waltzes on the guitar, especially at those jams where most of the tunes are fast and furious breakdowns. It is very nice to call out a waltz and slow things way down every once in a while. Personally, I love improvising on waltzes because the tempo gives you more time to explore possibilities. The challenging side of the tempo, for those players who mostly play fast ddle tunes, is that there is a lot of space to ll up between melody notes in a waltz. If you have trouble with that, hopefully this issue will help give you some good ideas. There are some great tunes and awesome arrangements in this issue. The waltz can be traced back to 13th century Germany. In fact, the word “waltz” comes from the German word “waltzen,” which means to roll, glide, or turn. Other early European dances which had waltz like steps were the Volta and the Lander in Germany, the Weller in Vienna, and the Nizzarda in France. The most popular form of the waltz originated in the suburbs of Vienna and the rural alpine areas of Austria. The waltz eventually made its way from rural areas to the courts of Europe. It was the rst court dance that was executed with the two partners in a close position and thus was viewed by many as being scandalous. Touching while dancing was considered to be highly immoral. The 3/4 time waltz that we know today had established itself as the standard by the late 18th century. It is thought to have been introduced in England somewhere between 1790 and 1812. The rst time the waltz appeared in the English court was in 1816 during a ball given by Prince Regent. Flatpicking Guitar Magazine
England was slow to accept the waltz, however, because religious leaders regarded it as vulgar and sinful. This antagonism actually served to increase the popularity of the waltz. The rst record of the waltz being danced in the United States was in Boston in 1834. It is reported that the social leaders who witnessed the exhibition of this new dance were aghast at what they called “an indecorous exhibition.” By the middle of the nineteenth century, however, the waltz had established itself in the United States. In Europe, around 1830, the waltz was given a boost when Austrian composers Lanner and Strauss wrote the faster tempo waltz music that helped popularize the Viennese waltz. During the later part of the nineteenth century, waltzes were being written to a slower tempo. Since that time, many variations have developed in a variety of cultures. There are Country waltzes, Cajun waltzes, American style, Mexican style, the Contra waltz, and Celtic style waltzes. Some of the most popular country waltzes appeared during the 1930s and 40s, including “Georgiana Waltz,” Westphalia Waltz,” “Tennessee Waltz,” “Kentucky Waltz,” “Walking the Floor Over You,” and “I’m So Lonesome I Could Cry.” In jazz any tune in 3/4 time is referred to as a waltz. Some of the earliest jazz waltzes include: “Missouri Waltz” (1918), and “Jug Band Waltz,”—also known as the “Mississippi Waltz” (1928). If you spend time playing with ddlers, then you might be familiar with playing waltzes. Contest fiddlers are usually required to play a waltz in ddle contests, so there are a number of great ddle waltzes. Some of the more popular ddle contest waltzes include “Memory Waltz,” “Morning Star Waltz,” “Festival Waltz,” “Bridget’s Waltz,” and “Ookpik Waltz.” If you know a contest ddle player, ask him or her to teach you a few of the popular ddle contest waltzes. Contest ddlers are a great source. Working on playing waltzes on a guitar using a flatpick can be a great way to develop tone and learn how to creatively embellish a sparse, slow-tempo melody. The use of crosspicking, chord strums,
May/June 2013
slides, hammer-ons, bends, triplets, and vibrato will all help bring out the beauty of a waltz. You will nd many of these techniques used by our the contributors to this special issue. I hope that you will enjoy exploring all of the waltzes that are presented in this issue. If you are new to waltzes on the guitar, I hope that this issue will inspire you to learn the waltzes the we have presented here and then go explore others. Have fun! We present the twenty-one waltzes in this issue in alphabetical order, starting with “Angel Band” on the next page.
New From FGM Records: Dan Miller Going Though A Phase 12 Tunes 11 Original 9 Vocal 3 Instrumental
With Tim May, Brad Davis, Robert Bowlin, and Jane Accurso 9
Be Thou My Vision (con’t) 32
D
A
S H 3 2 0 0 0
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Flatpicking Guitar Magazine
May/June 2013
Canyon Moonrise
Audio CD Track 6 E
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Flatpicking Guitar Magazine
May/June 2013
13
Canyon Moonrise (con’t)
jœ œ œ œ œœ œœ œœ œœ œ œœœ 3
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0 0
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2 2 0
The Legacy of Doc Watson by Steve Kaufman This wonderful compilation of Doc Watson’s life and music serves as both a biography and an instructional book that offers the reader and guitarist insight to the world of Doc Watson. The classic tunes included in this book are: Black Mountain Rag, Blackberry Rag, Blue Ridge Mountain Blues, Carroll County Blues, Doc’s Guitar, Doc’s Rag, Don’t Let Your Deal Go Down, Down Yonder, Fisher’s Hornpipe, Devil’s Dream, Freight Train Blues, I Am A Pilgrim, I Heard My Mother Weeping, New River Train, Rising Sun, Roll On Buddy, Salt Creek/Bill Cheatham, Sheeps in the Meadow/Stoney Fork, Sittin’ Here Picking the Blues, Texas Fales, Tom Dooley, and Will The Circle Be Unbroken.
Call 800-413-8296 to Order or visit www.flatpickingmercantile.com
Flatpicking Guitar Magazine
May/June 2013
15
Farewell to Whiskey
Audio CD Track 8 & 9
# 3 & 4 ŒŒœœ . œ œœ œ . Œ Œ .. . 1
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Arranged by Adam Shlenker
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Flatpicking Guitar Magazine
May/June 2013
Farewell to Whiskey (con’t) Dm7/F #
A m7
# & œœœœ œ œœ œ œ 0 5 5 0 5
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Flatpicking Guitar Magazine
May/June 2013
Festival Waltz
Audio CD Track 10 & 11
## 3 Ó œ œ œ œ . œ Jœ ˙ œ œ œ œ # & 4 J J . JJ J Ó ## œ œ œ œ . œ œ œ œ œ . œj œ œ œ œ œ œ # & J . . J J # œ nœ . œ œ œ œ . œ œ ˙ œ nœ œ œ œ œ œ œ # # & J J A
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Arranged by Rob Pearcy
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Flatpicking Guitar Magazine
May/June 2013
21
## œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ˙ . # & .
Festival Waltz (con’t)
œ œ œ œ œ œ œj œ . œ # œ œ . œ œ œ J . . J J ˙ œ œ œ œ . œ œ œ n œ . œ œ J J
34
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Flatpicking Guitar Magazine
May/June 2013
Festival Waltz (con’t)
## œ œ œ œ œ œ œ œn œ œ œ œ œ œ œ œ œ œ œ œj œ œ œ . Jœ œ œ œ œ # & œ. œ . J J . ## œ . œ œ œ œ œ œ # & J œ œ œ n œ œ œ œ œ œ n œ # œ œ ˙˙˙ .. ˙. . J ... . 123
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128
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25
Forest Waltz
Audio CD Track 12
˙˙ .. # 3 & 4 ... . # œ œ & œœœ Em
Bm
8 9 9 10
3 4 4 5
Written by Jordan Tice
A 7 /C #
Cmaj7#11
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G
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8
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26
Flatpicking Guitar Magazine
May/June 2013
Forest Waltz (con’t)
# &
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0
D
Gm
B
Cm
D
3
3
b œ # œ & #œ 45
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A7 /C #
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37
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3
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Flatpicking Guitar Magazine DVD-Rom Archives Twelve Years of Magazine Nine Years of Audio Companions on 2 DVD-Rom Discs The magazine archive DVD-Rom contains the rst 73 issues (PDF les), which were published from November/December 1996 (Volume 1, Number 1) through November/December 2008 (Volume 13, Number 1). The audio DVD-Rom contains the audio companion tracks (in mp3 format ) that were released between September/October 1999 (Volume 3, Number 6) and November/December 2008 (Volume 13, Number 1).
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Goddess Waltz
Audio CD Track 13
Written by Dan Miller
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Josephine’s Waltz
Audio CD Track 16
Arranged by Steve Palazzo
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PICKIN’ FIDDLE TUNES by Adam Granger
photo here
Leonard Finseth’s Waltz l
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et er t a r o o i n d r a o Greetings, atpickers, and welcome to my hundredth column. I indicated n n te l a o s u et ni n a s o oi s a n t Y g f e d n a a r si t ot et a n e n e e , S in the last issue that I would be doing an index of all of my columns—tune titles i h n t u n t s t o e a r t t i m e s r m h l n A a it o r e v e o r u r le ig ht f d e and topics—in this issue, but then found out that this was to be the Waltz Issue. So m n t E a q e e d p a h e o h r a f d t e a e s e e c g r h the index will be in the next issue of FGM . G B e tt ts e oly ie hgi hT sit rht reh tse r e c i e k p n n NI A When I rst moved to Minnesota, in 1974, I was heavily involved in the T il ec ee niS ia hts n .to ret thi T.e dn x A a f b si w d t m e e a . D s s .t o ddle contest scene in the Upper Midwest. I emceed and backed up contestants for s d a t , d et u te n i a e o b er e A o y s n f o b h d i at l n b u u i r a n a dozens of contests. In those days, the tenor of the contests was dened largely by t l a t E n p t a y c d h a y p i o h l h s e s i t m s d t a R b t i gi m a a a o a n i the old-timers who would come off of the farms and from the towns of Minnesota, at at si s c b c w a e E E Iowa, the Dakotas and Wisconsin to have a little sport and a lot of good fellow ship and to compete in the contests. Poor sportsmanship was anathema; good will , - n t : p - , e . - s e u a e d n h p . y t n i l e k u r a a o s i g u p abounded. y e l o c t t t e l r - u n m r p t s c a , b e e e n S s w h t n p ” e h r h w n g o c s Leonard Finseth was one of those old-timers, a Norwegian who lived in t n I t c R n a w t d , o w g n h i o e t d a n e d d . i n y t h E o e a a r n p f s t Mondovi, Wisconsin and died in 1991. This was a tune that he used to play as the d n o k a n o w s u p u r s R N e a o e a m n i s r t u e - t r e r t “ n t e e l e waltz choice in his competition (ddlers had to play a reel, a waltz and a tune of o e o t h N e s t u k t n m t n O I a w n b p l a o o t o a t s w F n r m f s o d u i t a d s y o i choice, which often would be a two-step like Maiden’s Prayer ); Leonard Finseth’s r l n y d G - s s n o u a t u l a h p n n h p t p n o t o e E i u e h i h p u , t Waltz is about as typical a Scaninavian waltz as you’ll nd. n e w h t s i o t B w n T s l a s k d a a g d n r i s h u e n w k w . e t i t r s c I had forgotten all about this tune until I started working a lot with old-time e g c i o t u h e h n o g n a o P d e s t r T i s a h d ddler par excellence Anni Spring about fteen years ago. She was my contra dance band partner until she moved to North Carolina last year (you may have heard us on A Prairie Home Companion from Cary, NC last summer). Happily for me, she is now moving back to Minnesota, and I’ll get to resume my contra dance band relationship with her.
You don’t have to know the CAGED system—or the This version is from Anni’s and my 2012 album, Fiddle and Guitar . In the tablature, I present the melody rst, C-shaped scale—to play the harmony. All you have to do is poand then the harmony, which I play the second time through sition your left hand over the 7th-through-10th fret area and fret the tune. Note, however, that I don’t ever play the melody on with whichever nger is over the fret indicated. (I call this zone this recording; the tab of the melody is pretty much what Anni coverage.) Oh, and just so’s you know, the roots are circled. Finally, let me encourage you to pay attention to the plays, retooled for guitar. And as long as I’m on disclaimors, The harmony is not note-for-note what I play on the album ei - rhythm guitar on this recording. If you’ve studied with me at ther. Heck, it’s not even note-for-note what I meant to play on Steve Kaufman’s Flatpik Kamp or elsewhere, or if you’ve read the album. Seriously, the twin points here are that melodies my past columns on the subject, I like to think that my rhythm don’t need to be played precisely the same way every time and playing on this cut conrms that I practice what I preach: My goal when playing alternated-bass (“boom-chick”) harmonies don’t need to be synced exactly to melodies. Even rhythm is to act as two instruments: a bass on the beat and a if one is making an album. If you employ a steady down-up-down-up treatment of chordal instrument on the backbeat, and to keep those two elethe six notes (including rests!) in each of the measures of this ments well-dened, and to deftly manipulate their qualities and their relative volumes (as well as the overall volume). tune you’ll get a good ow with good dynamics. One of the many wonders of the guitar is that it can All right, now let’s talk about playing the harmony. Don’t be afraid of those upper-neck notes: they are all within act as two instruments. In this case, I created a two-instrument rhythm section, but when playing solo, one can accompany this chunk of the C-shaped CAGED scale, in the key of G: oneself with this dual approach: think of the role the thumb 7 8 10 plays in double-thumb ngerstyle, or the strum in Carter-style. 7 8 10 7 9 Both of those entities are rhythm sections, accompanying, each 7 9 10 in its own way, the lead notes. 10 36
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Audio CD Track 19
L E O N A R D F I N S E T H ' S WA LT Z I
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All right, folks, that’s my waltz for this hundredth issue of Flatpicking Guitar Magazine. I say, “Let’s do another hundred!” Enjoy number 100, and get ready to put your running shoes back on for the next, back-to-normal, pyrotechni cal, high-speed issue. Until then, be nice to your mothers, be tolerant of noisy children, and keep on pickin’. Adam’s travels this summer will be eeting but farung: In early June, he’ll be teaching rhythm guitar at the International Fiddle Camp on the North Dakota-Manitoba border. In late August, he’ll be playing guitar and singing on the Prairie Home Companion Mediterranean cruise. In between, Adam will be sticking to the Upper Midwest. He’s not much for traveling, but some gigs, you just can’t turn down. . .
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Lover’s Waltz (con’t) Em
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Flatpicking Guitar Magazine
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Memories Waltz
Audio CD Tracks 21 & 22
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Midnight On The Water
Audio CD Tracks 23-24
E B G D A D
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Notes on String 6 are fretted with the thumb in this section. 19
0 3
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Flatpicking Guitar Magazine
May/June 2013
3 2 0 0 0
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Flatpicking Guitar Magazine
7 0 0 0
May/June 2013
Open Pit Mine
Audio CD Tracks 25-26
# 3 & 4Œ
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Flatpicking Guitar Magazine
May/June 2013
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Open Pit Mine (con’t) C
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And also. . .
GRANGER’S FIDDLE TUNES for GUITAR
COMPANION CDs
for Granger’s
508 TUNES • 1027 TITLES • FULLY CROSS-REFERENCED • REPERTOIREBUILDING AND REFERENCE TOOL This is the largest collection of ddle tunes in guitar tab in the world. You can learn a tune a week for ten years (by then, you’ll have forgotten the rst ones and you can start over!)
29.95 plus p & h
Fiddle Tunes for Guitar
•Instantly access any tune •Set your CD player to “Repeat” and learn new tunes •Challenge yourself! Set your CD to “Shufe” and try to play rhythm (or lead!) with whatever comes up •Not dangerous, illegal, discriminatory or fattening Back in the dark ages, our ve-cassette set allowed pickers to hear all 508 Granger’s Fiddle Tunes for Guitar . Our 21st-Century CD sets are even better. tunes in
Each CD contains about 75 tunes. The title is announced, then the tune is played once at a moderate tempo, with rhythm on the left track and lead on the right. The 7-CD set comes in a black plastic box, and includes separate indexes for each disc.
CD SET/99.95 plus p&h
www.granger-music.com 1 • 800 • 575 • 4402 granger publications • box 270115 • vadnais heights, mn 55127 48
Flatpicking Guitar Magazine
May/June 2013
Roxanna Waltz
Audio CD Tracks 28 & 29
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Flatpicking Guitar Magazine
May/June 2013
Roxanna Waltz (con’t)
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New Standards for Flatpicking Guitar Original Flatpicking Guitar Tunes Performed in Duo by Many of Today’s Top Pickers Call 800-413-8296 www.flatpickingmercantile.com 54
Flatpicking Guitar Magazine
May/June 2013
Tennessee Waltz
Audio CD Track 30
D
D7
Arranged by Mickey Abraham
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D
Bm
Em
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Flatpicking Guitar Magazine
May/June 2013
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Tennessee Waltz
b œ œ b œ œ œ œ j œ n œ ˙ . # œ n œ œ œ j œ j œ # J œ œ # œ ˙ œ # œ n œ œ œ & J . J J J n œ œ œ œ œ œ # œ œ œ n œ œ œ œ . œ œ œ œ œ œ œ ˙ œ . # œ œ œ œ œ œ # œ J # J n œ œ J œ ˙ & J . . J J J J D
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38
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3
1/2 step pre-bend & release
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5
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10 12 13
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May/June 2013
Tennessee Waltz D
D7
G
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3
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The late, great Charles Sawtelle with his Thompson Dreadnought (circa 1986)
In the tradition of the great guitars of the 1930’ s www.pkthompsonguitars.com Flatpicking Guitar Magazine
May/June 2013
57
June 9-15: Old Time Banjo, Mt. Dulcimer, Flatpicking, Fingerpicking, Old Time Fiddle and Songwriting June 16-22: Flatpicking, Bluegrass Banjo, Mandolin, Bluegrass Fiddle, Singing, Dobro ™ and Bass Old Time and Traditional Week - June 9-15: Flatpicking: Robin Bullock, Tyler Grant, Andy Hatfield, Steve Kaufman, Marcy Marxer and Robert Shafer; Fingerpicking: Pete Huttlinger, Happy Traum and Tim Thompson; Old Time Fiddle: Josh Goforth and Peter Ostroushko; Mountain Dulcimer: Joe Collins; Old Time Banjo: Cathy Fink; Songwriting: Kate Campbell Bluegrass Week - June 16-22: Flatpicking: Russ Barenberg, Mark Cosgrove, Beppe Gambetta, Mike Kaufman, David Keenan, Tim May and Fred Sokolow; Mandolin: Alan Bibey, Andrew Collins, Matt Flinner, Emory Lester, John Reischman and Don Stiernberg; Bluegrass Banjo: Gary Davis, Bill Evans, Bill Keith and Ned Luberecki; Dobro ™: Ivan Rosenberg, Mike Witcher ; Bass: Rusty Holloway, Missy Raines, and Steve Roy; Bluegrass Fiddle: Fletcher Bright, Kenny Kosek, Annie Staninec; Singing Class: Kathy Chiavola and Don Rigsby Jam Instructors Both Weeks : Keith Yoder, Tony Anthonisen; 101 Instructor: Cindy Gray
Call 800-FLATPIK - 865-982-3808 to Register A Musical Event Like None Other Held each June in Maryville, TN Specially designed for Ultra-Beginners through Professional Located On The Campus of Maryville College in Maryville, TN - Just 17 mi. So. of Knoxville, TN.
Call or Write for your Kamp Brochure or go to www.flatpik.com
Your $850.00 Paid Registration Entitles You To: Rotating 2 Hour Classes with ALL of the Main Teachers Gold Award Winning All Meals and Lodging (Companion Packages available) More Classes Structured Slow and Medium Group Jam Periods More Education Structured Stylistic Jams: Swing, Old Time, BG, Vocal, Gospel More Fun More Friends Master Classes and Afternoon Specialized Sessions Scholarships Available Ensemble Work, Open Mic. Time, Afternoon and Nightly Jams Join us in June! Admission to All The Nightly Concerts Scholarships Available at http://duscholar.home.mchsi.com/ We’d like to thank Weber Mandolins, Deering Banjos, Collings Guitars, Ken Miller Guitars, Taylor Guitars for donating instruments for our big Door Prize Give Away! More to be added!
Limited Spaces -Registrations and Kamp Info: www.flatpik.com Register On-Line Register Today Steve Kaufman's Acoustic Kamp PO Box 1020, Alcoa, TN 37701 Gold Award Every Year since 2002 Find Out Why!
865-982-3808 (Operator‘s and Tape Machines are Standing By 24 hours) 800 - FLATPIK
[email protected] www.flatpik.com
Interested in being a corporate sponsor? Write
[email protected]
Don’t Sleep Through This Opportunity!
The 2013 Kamp Series is Sponsored in part by ~ Acoustic Guitar Magazine, Collings Guitars, Deering Banjos, D’Addario Strings, DR Strings, Shubb Capos, DownHomeGuitars.com, Fishman Transducers, Flatpicking Guitar Magazine, Heritage Instrument Insurance, Homespun Tapes, Huss and Dalton Guitars, Lakota Straps, Mandolin Magazine, PalaceTheater.com, Martin Guitars, Ome Banjos, Mass Street Music, Naugler Guitars, Weber Mandolins, SmokyMountainGuitars.com and Wood-N-Strings Dulcimer Shop
58
Flatpicking Guitar Magazine
May/June 2013
The Blackest Crow
Audio CD Track 31
# & 34 Œ . œœJ œ ˙˙ œ œj œ . œ œ ˙ œœ Œ. J . J # & œj ˙ œj œ œ œ œ ˙ œ œ ˙ œ œ œœ D
1
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H
T A B
8
G
3 2
3 2
4
P
0
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Em
0
H 3 2 4
3 2
H
Arranged by Tony Watt
2 4
H
3
3 2
4
2
0
2
D
G
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May/June 2013
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The Blackest Crow (con’t)
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G
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1 2
H
3 3
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# &
Coming Near You!
www.flatpik.com Steve Kaufman Three Time National Guitar Champ
H P
4
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3 0
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63
Kaufman University
Em
œ œ œ 2 2 3
˙˙ .. ˙˙ . ˙.. ... .. 0 0 0 2 2 0
0
The World’s Guitar and Mandolin Teacher A Decade of Gold Awards for the Best Camps and Conferences Upcoming Workshops and Concerts Littleton, NH - May 3-4 Guitar Workshop and Concert
603-444-7776
[email protected] Holly, MI - May 10-11 Guitar Workshop and Concert 248-245-5167
[email protected]
Virginia Beach, VA - May 18-19 Guitar Workshop and Concert 757-626-3655 www.tffm.org
[email protected]
Maryville, TN - Kamp Time June 9-15 and June 16-22 Register Today! It Only Takes a Moment!
Townsend, TN - August 30 Concert at the Heritage Center 7PM 865-448-0044
Vienna, VA - September 5-6-7-8 Mando/Guitar Workshops - Concert 707-849-4889
[email protected]
Los Gatos, CA - September 13-14 Guitar Workshop and Concert
[email protected] or call 408-395-0767
Kettle Falls, WA - September 28-29 Guitar Workshop and Concert
[email protected] or 509-429-4687 Reading, PA - October 3-4-5 Mando/Guitar Workshops - Concert
[email protected] or 610-775-7322
Springfield, MO - October 10-11-12 Mando/Guitar Workshops - Concert
[email protected] or 417-766-7171
Calgary, Alberta - Oct. 17-18-19-20 Mando/Guitar Workshops - Concert 403-880-2166 or
[email protected]
Steve’s Complete Tour Schedule, Best Selling DVDs, Books, CDs, Freebies and Full Details at
www.flatpik.com 865-982-3808 P. O. Box 1020 Alcoa, TN 37701 Flatpicking Guitar Magazine
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Reviews Robert Shafer & Robin Kessinger Old Friends
Reviewed by David McCarty Between the two of them, atpicking heavyweights Robert Shafer and Robin Kessinger have racked up more titles than Floyd Mayweather and Manny Pacquaio combined. These long-time friends and pickin’ buddies have joined forces before, always with great results. So it’s no surprise that the aptly titled Old Friends more than lives up to its potential. Over the course of 12 tunes, these supremely talented musicians demonstrate a rare gift for merging divergent guitar styles into a unique whole. Shafer, who excels on Telecaster and electric guitar styles in general as much as he does as a atpicker, is the ashier player here. His quicksilver right hand frequently tosses in blazing 16th note riffs that build tension and rhythmic intensity to his solos. Leveraging his extensive knowledge of the guitar’s entire ngerboard, Robert deftly weaves in the odd minor note or altered scale on the swingy tunes like “Lady Be Good” and “I’ll See You In My Dreams” in a way that bends the tune’s backbone without ever seeming forced or self-conscious. Kessinge r is the more laid-back instrumentalist here, hewing closer to the melody and drawing on his rich musical heritage to coax warm, engaging notes that ring out noticeably. Playing with heart and reverence, he breathes life into old warhorses like “St. Anne’s Reel” and “The Old Spinning Wheel,” showing how a command of the guitar’s tone and timbre is 64
at least as crucial to great atpicking as hot licks or extended improvisation. The CD is well-recorded, mixed and mastered by Shafer, which is not always an easy task when you’re starring in the studio, as well. The guitars are captured in clear denition, and I suspect they played live in the studio with very few punch-ins or overdubbing on the guitars. Robin, in addition to his splendid guitar work, layers in bass, 6-string mandolin and brushes to esh out the project and give it more of a full ensemble feel. The content here ranges from atpicking standards like “Daley’s Reel,” “Dixie Hoedown” and “Forked Deer,” to a mix of swing and old-time tunes such as “Shanty In An Old Shantytown.” And given the huge repertoire these two highly experienced musicians have accumulated over their
careers, it’s natural for them to toss in a few less-familiar numbers like “Doc Harris Hornpipe,” “Bitter Creek” and “Cottage Hill.” CDs like Old Friends go right to the heart of atpicking guitar music. Simple without being simplistic, engaging and open without descending into cliché or the mundane, Robin Kessinger and Robert Shafer have captured one of those special moments we all experience at places like Wineld of the Kaufman Kamp on disc for us all to enjoy again and again. Highly recommended, friends. Song List: Daley’s Reel; Lady Be Good; The Old Spinning Wheel; Dixie Hoedown; Forked Deer; Shanty In An Old Shantytown; St. Anne’s Reel; I’ll See You In My Dreams; Doc Harris Hornpipe; Bitter Creek; Cottage Hill; Song For Debra Jean
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CLASSIFIEDS Classied ads will be accepted for guitar and musical related items @ 40¢ a word, 50¢ a word for bold lower case type, 60¢ a word for bold upper case type. Please call (800) 413-8296 to order, or send ad to High View Publications, P.O. Box 2160, Pulaski, VA 24301
Now you don’t have to buy the whole course...
Instructional Material: GUITAR JAM: Play leads to “Blackberry Blossom,” plus 11 other classics with our back-up band. A fun way to develop timing. Tape and TAB booklet $16.95 ppd. Custom Practice Tapes now available! Choose from almost 400 songs and we’ll play them slow and fast for twice the jamming. Andy Cushing, 6534 Gowanda St. Rd., Hamburg NY 14075 MUSIC THEORY COURSE FOR GUITAR Correspondence Course. Certicate issued on completion. Beginning courses also available. Course outline and enrollment order form for this and other home study courses, write to: Jim Sutton Institute of Guitar, 23014 Quail Shute, Spring, TX 77389 E-mail:
[email protected] Web Site: http://guitar-jimsuttoninst.com 800-621-7669
FREE HAROLD STREETER CATALOG Over 1,000 atpick and ngerstyle tabs and CDs, beginning to advanced. Bluegrass, country, Celtic, Gospel, blues, jazz, and more. LeWalt Publishing, 4930 East Horsehaven Ave, Post Falls, ID, 83854, USA 208-773-0645, www.lewalt.com
Downloads & Singles are Here!
FLATPICKING MERCANTILE Flatpicking Mercantile has a full line of instructional books, CDs, and DVDs for the atpicking guitar player. Bluegrass, Celtic, Western swing, Gypsy jazz, and more! Check out: www.atpickingmercantile.com
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How much has your playing improved this year? Not that much? Free E-books, lessons, playing tips and backing tracks www.ckomusic.com
STEVE KILBY’S TUNE OF THE MONTH Try my subscription service, an acclaimed and detailed method for learning atpicking tunes. Each package features: TABLATURE for LEAD including BASIC and ADVANCED version, CHORD CHART and CD with tune broken down by phrases along with plenty of practice tracks for back-up and lead at different speeds. Subscription price is only $15 per month, plus shipping. For details contact: 276-579-4287 www.kilbymusic.com
GUITAR LICK CARDS: from standard to stellar, 81 licks are isolated on playing cards. Line them up with the same chord progression as your favorite song and voila! It’s a new arrangement! Rearrange the licks for endless variations. They’re inspiring! Available for mandolin and banjo too. $11.50 ppd. per set. Andrew Cushing, 6079 McKinley Pkwy, Hamburg NY 14075
The Flatpicking Guitar Network Meet new atpicking friends, exchange tunes, share photos and videos, ask questions, and find new jamming buddies. Find it all at atpick.ning.com
Quality Bluegrass Music Instruction Since 1973
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CLASSIFIEDS Flatpicking Essentials Instructional Series Ever feel like you’ve hit a wall in your practice or reached a plateau that you can’t get beyond? We can help you! The EightVolume Flatpicking Essentials Instruction Method, developed by Flatpicking Guitar Ma gaz ine editor Dan Miller, provides you with over 1000 pages of information taught in a specic step-by-step sequence so that your atpicking knowledge and skill sets are complete, with no holes, or gaps. Starting with Volume One (Rhythm, Bass Runs, and Fill Licks), this series teaches you how to develop in an easy to follow graduated method. This course is available as spiral bound books with CD, or as digital downloads. For more information visit www.atpickingmercantile.com or www. atpickdigital.com.
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Guitars, Strings, and Accesories: DAN LASHBROOK ACOUSTIC GUITAR SET UP Custom Bridge Pins, Nuts, and Saddles. Neck Re-sets, Fret Jobs, Crack Repairs. Specializing in helping you get the best performance out of your guitar. Occasional high performance guitars for sale.
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LANHAM GUITARS Handcrafted by Marty Lanham Available from Nashville Guitar Company www.nashguitar.com phone: 615-262-4891
EUPHONON COMPANY STRINGS First quality major manufacturer strings in bulk at fantastic savings. Same strings you buy in music stores, without the expensive packaging. Acoustic guitar sets: extra-light, light, or medium: 80/20 Bronze $32.50/ dozen, $20.00/half dozen; Phosphor Bronze $34.50/dozen, $21.00/half dozen. Post paid. Call for price larger quantities. Twelve string, electric guitar, banjo, mandolin, dulcimer, special gauges available. Request String Catalog. Euphonon also offers guitar repair and building supplies. Request Luthier’s Catalog. EUPHONON CO. PO Box 100F Orford NH 03777. 1-(888) 5174678. www.hotworship.com/euphonon
Visit www.fgmrecords.com Specializing in Acoustic Guitar Music!
Flatpicking the Blues Book/DVD/CD Course by Brad Davis
Call 800-413-8296 to Order
In this course, Brad Davis shows you how to approach playing the blues using both theoretical and practical methods. You will learn how to play blues style rhythm, learn blues scales at several positions on the neck, and learn how to apply those “blues notes” in a free-form improvisational style over the twelve-bar blues progression. This section increases your knowledge of the guitar ngerboard as it relates to the blues and provides you with a method for increasing your improvisational skills. Brad then examines common blues phrasing, technique, and standard blues licks and demonstrates how to apply them. He also shows examples of licks played in the style of great blues guitarists and even demonstrates how Bill Monroe’s blues licks on the mandolin can be incorporated on the guitar. This course also includes blues ear training. In addition to teaching you how to play straight blues, Brad also demonstrates and teaches how you might take tunes that you may already know from the standard atpicking repertoire and spice them up with blues licks. If you are tired of playing atpicked ddle tunes and bluegrass songs the same old way you will greatly appreciate Brad’s instruction on how you c an add excitement and interest to songs that you already play by adding a blues avor.
Visit the Website for More Information and Blues Guitar Lessons www.flatpick.com/blues 68
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