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Fingerstyle Guitar Solos
from the playing of Davey Graham,
Stefan Grossman, Bert Jansch and John Renbourn
using standard tuning
transcribed by Peter Billam
and some pieces by Peter Billam
© Peter J Billam, 2017
This score is offered under theCreative Commons Attribution 4.0 International
licence; seecreativecommons.org
This edition 30 August 2018.
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Finger-style Folk-guitar Instrumentals
These scores are something I always wanted to have when I was fingerpicking steel-strung guitars in the the folk clubs of London in the late 1960s.
Included are instrumentals for solo guitar, all in standard tuning, including a couple of myown, but mostly from the early albums of Davey Graham, Stefan Grossman, Bert Janschand John Renbourn. Everyone trying to play the folk guitar must own those albums !not to mention those by Al Stewart, John Martyn, Roy Harper, Dando Shaft, theIncredible String Band . . . it was a moment of great creative flowering.
They played often with a Capo on second or third fret, and mostly in triplet-rhythm,which I have notated in 12/16 and 9/16 to make the beats clearer by grouping them underthe same beam. An ascii-tab tablature edition of these pieces is also available.
Davey Graham was playing jazz standards - tune, chords and bass - just as a piano triocould. Andnot so much by brute virtuosity, as by intelligence: by letting the arrangementgrow out from the guitar. Just consultCry Me a Riveron youtube to see how naturallythe playing lies on Davey’s six strings.
Stefan Grossman came in from the US, having studied not just in New York with theReverend Gary Davis, but also down south with Mississippi John Hurt, Son House, SkipJames, Mississippi Fred McDowell - so carrying in him a huge, rich tradition.
Bert Jansch was exploring the sound of alternating between an open string and the samenote fingered on the next lower string, letting both vibrate. He later described ’TheWheel’ as "the sort of thing most guitarists have up their sleeves, little bits and piecesthey throw away or forget". Thissplicing together of repeated motifs (’little bits’) wasalso much used in progressive rock, and in the classical tradition it is associated withRussian music -The Rite of Springfor example.
John Renbourn’s first two albums were among my most treasured possessions.
Included are: Angi, iconic and indispensible, and Thelonius Monk’s Blue Monk, fromDavey Graham’s first album, andCry Me a River by Arthur Hamilton as played byDavey in "Hound Dogs and Bach Addicts: the guitar craze", made by Ken Russell in1959 for BBC TV’s Monitor.
Matesa and Powder Rag and Lena Anne from Stefan Grossman’s 1972 live album.
Alice’s Wonderland and Veronica and Smokey River (the intro, and the title, refer toJim Hall’s playing on The Train and the Riverwith the Jimmy Giuffre trio), from BertJansch’s first album, andThe Wheel from his second album
Plainsong from John Renbourn’s first album, andDay at the Seasidefrom his second
Whisper Not by Benny Golson and The Entertainer by Scott Joplin, arranged bymyself, andThe London Ragwritten by myself, in the late 1960s.
Peter J Billam
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Angi1Davey Graham
8
2 3
8
4Capo on 3rd 1
2
5
88
8
2 23 bend
8
10 bend
88
bend 15bend
88
20
88
ff m
dim . . .p
916
25 f
8
1216
8
1216
p
f
2 p
f
8
2
8
30
p
f
23
15161516
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2 Anji Davey Graham
8
2 3
8
4
35
88
40
8
2bend
8
bend
45
88
bend
88
50
88
55 f
8
916
12161216
p
f
2
60
p
f
88
2 p
f
2 p
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3Anji Davey Graham
65
8
1216
8
1216
88
70
88
75 bend
88
bend bend
80
88
88
85f
8
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Blue Monk4 arr Davey Graham
8
12
12
34
34
gliss
88
4
12
12
34
34
12
12
34
34
888
10
888 4302
88
15
88
4
324
88
20 34 3
2
8
3 24
8
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5Blue Monk, arr Davey Graham
25
88
8
23
83
4
8811
88
35
8 1
4
0
2
1
4 034
214
0
2
3
1
40
88
324
88
45
88
0 2 4
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6 Blue Monk, arr Davey Graham
88
50123
124
88
55
88
88
60
bend
88
8
10
8
65
2
88
bend
70
88
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7Blue Monk, arr Davey Graham
8
12
12
34
34
8
gliss
75
88
43 4
3
4:34:3
88
80
884
2431
5
14
85
88
88
90
34
8811
88
95
rit . . .
88
100
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Cry Me a River8 by Arthur Hamilton, played by Davy Graham
mm=89
88
3 1 14
2 1 14
1 1 14
1 2 24
88
5
8
3 1
8
3 1 14
2 1 14
10
8
1 1 14
0 1 2 24
0
8
15 3
88423
1
423
8
20
8
2 253 1 1
42 1 1
4
8
1 1 14
0 1 2 24
0
8
303
8
3
3 3
4 23
1
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Matesa9Stefan Grossman, 1972 live album
capo on 2nd mm 144
88
3 gliss
14
6
2
glissto the A
5
88
8
2
8
3
10
43
8
3
8
2
3
4
2
4
15 2
1
8
1
421
2
8
3sfz p 4C 1
3
20
8
3
8
5
1 1
1
32
1
41
25
8
41
8
3 2
2
4
88
3
30
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10 Matesa, Stefan Grossman, 1972 live album
8
1
8
6
2
35
glissto the A
88
40
8
2
8
43
45
8
3
8
2
1
8
1
421
2
8
3sfz p
50
4C 13
88
42
mf p
551
i
8
3
8
3
2 4
59
1124
8
1
2
8
3sfz p 4C 13
88
65
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Powder Rag11Stefan Grossman, 1972 live album
mm 100
88
24
3 4
32 4
34
430
2 32
3434
1
lightly swungsixteenths . . .
24
20
2424
1
34 4 2
11
5
8
12
12
11
8
4
3 1 3 1
2
9
8
2
8
3 3
4
1
88
3 2
3
15 3
24
8
23 2
8
4 mi
4
20
88
4 3
1
25
8
2
8
3 3
88
30 1
3
88
3
4
35
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12 Powder Rag, Stefan Grossman, 1972 live album
88
11
4
2 4 1
39 4
3
8
4 4
8
3
4 2 4
3 1
88
45
88
___________1a
___________2a
888
55
88
60
888
88
65
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Lena Anne13Stefan Grossman, 1972 live album
mm 116
88
44
06
05
capo on 2nd
1
32
2
3 1
2
42
3 1
5
8
2
38.
88
mm 12034
f bend
10 p
1 32
8
34
33
8
34
2
f
4444
f34
m
01
m i m i m m
8
01
34
8
1554
1 32
3
4444
8
43
8
p34 2 1
3
20 mf
88
4 2
3 3 1
034
1
f
8
134
8
2554
3 3
44
32
44
34
88
34
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14 Lena Anne, Stefan Grossman, 1972 live album
30
88
88.
35
88
mm 120
f bend
p
p
8
34
8
34
f
40
4444
f
34
8
34
8
mfp2
3
45
8
4 2
8
3 3 1
034
1
8
34
8
54
350
4444
34
88
3
p
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Alice’s Wonderland15Bert Jansch, 1st album
mm 132 capo on 3rd
88
34
8
34
11
01
3 3
5
884
4C I
3 04
31
1
34
2 4
8
1 3
2
8
1024
13 1
1 4
24
4 1 0 43 0
8
34
34
8
34
15 4 3 12 1
34
3
i
8
4 10 2
8
4 2 1 0 2 201 4 3 2
2
88
2 25
mm = 168
88
40
2
916
4 21
916
30
8
34
8
34
40
2
916
4
916
35
8
1216
3 42 2
4
8
1216
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16 Alice’s Wonderland, Bert Jansch, 1st album
8
2 0 2
8
4
1
40 44
916
4
916
arpegg.
8
34
8
34
8
34
3
arpegg. 45 2
916
4211
916
8
1216
49
8
1216
2
916916
5012161216
2
916916
8
1216
8
1216
8
1216
0
4
2 3 1
2
916916
4
5534
31 0
34
4
34
8
4 2 1 2
8
1 31 04 60 1 2
8
4 3 2
8
11
1
3 rit . . .3
65
88
C I3 0
4
31
1
8
23
4
8
70 1 3
2
24
13 1
1 4
24
4 1 0 4
88rit . . .
43 0 4 75
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Veronica17Bert Jansch, 1st album
mm 120 capo on 3rd
8
98
8
98
3
1
4 0 2
1
23 4 0 2
5
8
23
8
1
4 0
1
4 0
1
8
2 4 0
8
1
10 4 0
2
2 4 0 4 0
2
8
34
0
8
1 2
15 34
0
2
8
34
0
8
1
tr2 2
20 14 0
2
888
2
14 0
2 2
14 0
2
25
8
4 0
8
1
4 0 4 0 4 0
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18 Veronica, Bert Jansch, 1st album
88
1
3014
2
3
4 0
1
34
0
1
8
4 0
8
1
4 0
2
354 0 4 0
2
8
34
0
8
1
13
2
40
888
2
14 0
2tr
2
14 0
45
88
1 2
3
4 0
1
34
0
1
8
4 0
8
1
50 4 0
2
3
1
4 0 2
1
8
3
8
1
4 0 2
1
552 3
1
4 04 0
molto rit . . .
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Smokey River19Bert Jansch, 1st album
mm 132
88
04 1 3 0
capo on 3rd
8
0 4 13 0
80 2
5
1
mm=126
88
34 2
1
34
23
3
10
88
3
8
3
8
02
15 3
88
3
8
20
1 30
8
2042
1 34
20
1 1
88
10 0
443
25
8
3
8
3
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20 Smokey River, Bert Jansch
88
2424
cro.=8030
68
0 4 0
68
1
0 4 0
8
0 4 0
8
4 0 cro=120
4444
35
8
24
8
24
44
10
241
23
44
40
8
24
8
24
4444
cro.=80
2424
6868
f
cro=120 cro.=80
8
34
8
34
mf
4568
4 0
68
4 0 4 0
8
4 0
82
0
1 3 4
50
88
0 4 0 4 0 550 4 0
8
4 0
8
0 4 0 0 4 0 0 4 0
60cro=126
88
4444
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21Smokey River, Bert Jansch
8
3
8
65 3
88
2424
p
4444
70mp
68
0 4 0
68
8
0 4 0
8
0 4 0 4 0
4444
75
8
24
8
24
4444
3
8
3
8
80 3
88
85
qua.=108
8
88
90
88
f
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The Wheel22 Bert Jansch, 2nd album
mm 160 capo on 3rd
8888
5
8p
0m
4i
31
8
i
8
2
0
0 431
2
0 4 0 4
8
0 4
88
100 4 0 4
916
1
0 4 0 4 14
916
3 2
p
8
04
0 4 14
8
3 2
04
23
15
8
04
0 4 0 3
8
23
1216
0 4 4 00 4
0 2
1216
3 3
916
1
04
0 4 14
916
3 2
200
44 0
0 4
3 2
8
1216
4 00 4
0 2
8
1216
1 3 3
916
1
04
916
3
04
4 00 4 4 0
0 42
3
25
81
04
8
3
1216
0 431
12161216
2
0 4 0 4
8
0 4
88
300 4
916
1
0 41
4
916
3 2
88
1216
m i m i
1216
350
4 4 00 4 0 4
13 2 1
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23The Wheel, Bert Jansch, 2nd album
8
916
0 30 4 0 2
8
916
2 31
04
0 4 14
3 2
04
0 4 4012161216
88
916
1
04
0 4
916
3
1216
0 4
12161216
2
45
8
0 4
88
0 4 0 4 0 4
8
0 4
88
50 0 4
916
1
0 41
4
916
3 2accel . . .
88
dim . . .
55 3 00 4
14
3 2
8
1216
3 0
8
1216
916
0 41
4
916
3 2
601216
3 0
1216
8
916
8
916
4 00 4
1216
0 30 4 0 2
1216
0 2 3
4 2
65
8
42
8
3
916916
0 4 4 0
8
1216
0 40 3
0 4 0 2
8
1216
0 2 3
916916
dim e accel . . .
88
sempre . . . fade out . . .www.pjb.com.au
Plainsong24 John Renbourn, 1st album
cro=92
88
Capo on 2nd
3434
cro=108 54444
8
78
8
78
dim . . .
4444
cro=120
10
88
3
qua.=150
8
1216
8
1216
1
i m
2 004
a
8
1216
154 4
p
8 023
8
20
4
88
34
23
8
1 2
2
4 240
1
i m
225
40 43 32 0
88
3
4
30
88
4 23
8 2
4 240
8
4 4
8
31
31
88 p 2 2 0 0
354
3
p 2 0
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25Plainsong, John Renbourn, 1st album
888
1
31 4
20
2
40 400
1
i m
2
41
4
8
4
8
33
88 p
3 3 45 3
8
3
8
2
31 4
20
2
400
i m
4
50bend ...
88
3 4
31
8
31
3
8
2
55 01
03
1
23
8
2
43
8
1
60 bend3
4 32
11
11
8
14
2 1 3
8
65
8
23 3
1
8
4
p70
8
3
8
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26 Plainsong, John Renbourn, 1st album
88
75
88
80
88
85
88
4
3
90
8
140
8
bend243
8
1 4
88
3
8
95
88
i
8
p
3
i
120
2p
100 400
i m
14
4
888
105
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27Plainsong, John Renbourn, 1st album
888
31
2 4
110
8
230
8
88
4 23
8
1154
4
888
4
120
88
1254
888
4
130
88
4
23
2
4
888
135
4 4
88
slower ...
5454
4444
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Day at the Seaside28 John Renbourn, 2nd album
4min=66
88
22
02
8
22
3
0
8
22
Capo on 1st
3
3 3
0
888
514
0 4
0 13 3
2 4
888
4 0
4 2 2
032
2
p
3
i i m
damped1
i20
2
i
p3
0
10
88
3
8
1 3
4
2
3
ponticello . . .
4
2
8
2 0 3 4
8
1
naturale . . .
pm
im
im
i 15 0
3
0
88 38 3
88
20 1 2
0
i
2
m i m
0
i
4 4
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29Day at the Seaside, John Renbourn, 2nd album
888
3
4 0
4 2 2
032
2
p
3
i i m i20
i
3
25
888
1
4
ponticello . . .
8
2 0 3 4
8
1
naturale . . .
pm
im
im
i 30 0
3
0
88 38 3
0
88
35
rit . . .
88
3
8
bend...2
~ 72 sec
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30Whisper Not
Benny Golson, LeRoy Jackson
arranged for guitar Peter Billam
Am/GAm3
8 28
FMaj7F#m7(b5)
4 3
Am/E B7(b9)21
E7 2
3
Am7
888
F#m7(b5) B7(b9) Em7 2C#m7(b5) F#7(b9)3
0 2
41
Bm7
88
F#7C#m7
23 C#m7Bm7
403
E7Dm72
12 0
2 3
Am7
888
F#m7(b5) B7(b9) Em73 3
C#m7(b5) F#7(b9)3
2
4
Bm7
88
F#7C#m7 2 3
23
C#m7Bm7
4
G7Dm7
F#m7(b5)
8
41 3
4
8
2
3
B7(b9)31 4 0
3 3
2 2
Em7 3 A7 3
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31Whisper Not, Benny Golson, LeRoy Jackson
arranged for guitar Peter Billam
C#m7(b5)
8
10
02
8
34
8
2 3
F#7(b9)
20
3
1
4
Bm7(b5)
34
2
E7(b9)
Am7
888
F#m7(b5) B7(b9) Em73 3
C#m7(b5) F#7(b9)3
2
4
Bm7
88
F#7C#m7 Bm
432
14
12
61
32
Fine34
32
Am Am7
8
3
44
8
F#m7(b5) B7(b9)432
0
32 4
3 1
1243
3 3
3
1
Em Em7
0
31 0
52
C#m7(b5) F#7
8
10 4
32
8
24
Bm7121
3
1 3 41
C#m7F#70
1
2
3
41
C#m7Bm7
8
40
8
1
________________________
1a . . .Dm7 E7 3
20
123
2
________________________
2a . . .Dm7 G7 D.S. al Fine
423
120
03
3
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The Entertainer32 Scott Joplin
Arranged for guitar by Peter Billam
8
42
11
22
33
12
0
0 13
24
45
13
25
25
4 0 26
4 2 1
241
0 23
8
23
1 41 0
834
34
4
14
3
44
0 23
3
C.VII
8
23
1 41 0
1 4 0
834
34
4
14
3 341
24
0 23
11 0 4
646
8
23
1 41 0
834
34
4
14
3 1 3 3
3
8
3 4 1 3 4 1
81 0 2 2
____________1a
3 4 1 3 4 141
44
0 23
134 3
5 0
____________2a
11
32
32
34 3
5 0
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33The Entertainer, Scott Joplin
Arranged for guitar by Peter Billam
8
20
13
20
11
32
32
11
1
8
3 1 1 01
0 124
2 3
4 34
24
8
20
13
20
11
32
32 2
3
8
1
24
3 4 0 2 3 4
4 1
8
20
13
20
11
32
32
11
1
8
3 1 1 01
11
2 1 1
4 34
24 3
8
1 2
8
34
4
Da Capo4014
23
2
____________3a
8834 3
5 0
42
11
22
33
12
0
0 13
24
45
13
25
25
4 0 26
4 2 1
241
144
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The London Rag34 Peter Billam, 1968
888
2
3 3 1
88
8
43
8
2
14
3
2 2
41
i m i
8
2
8
1
4 1a4
2
___________30
___________2a
8
4
8
3
4
88
2
3 3
2
3 3
8
2
8
3 3 1
p
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ccBY
Peter Billam was born in London in 1948, studied piano, and lived in Switzerland from 1973 to1983, where he studied composition, classical guitar, flute and voice, worked as Musical Directorof the Théâtre Populaire Romand, and as recording engineer, record producer and computerprogrammer. He moved to Tasmania in 1983, and lectured in composition at the Conservatorium.He foundedwww.pjb.com.au, becoming the first composer to sell scores on-line, taking scoresfrom Composer to Performer in one immediate step.Www.pjb.com.auoffers a new approach tomusic publishing. These pieces arewritten to be read, made to be played !
Compositions at www.pjb.com.auinclude:Five Short Pieces, guitar, 1979;Divisions on an ItalianGround, flute and guitar, 1980;De ProfundisandNacht, on poems by Lama Anagarika Govinda, voice andpiano, 1980;Fünf Bagatellen, piano, 1980;Five Rounds, choir, 1986; Go Forth and Multiply, choir, 1986;Three Violin Duets, 1987; Fable, for piano, 1987;To Erich Jantsch, SAATTB recorders, 1988;A Suite ofCurves, trombone (or horn) and piano, 1990;Two Recorder Duets, alto recorders, or other melodyinstruments, 1991;Tr ombone Quintet, trombone, flute, piano, bass, and percussion, 1994;Three Songs, onpoems by Jack Kerouac, Vikram Seth and Dylan Thomas, voice and piano (only the first and third of these areavailable), 1994; Piano Study, piano, 1994;Four Dances, various ensembles including recorder quartet,string quartet, 1995;The Poet in the Clouds, on a poem by S. T. Coleridge,SATB choir, 1995;Tr es Casidasdel Diván del Tamarit, on poems by Federico García Lorca, voice and piano, 1997;Three Suites, for thesolo line, piano, and piano and a solo line, 2000;Die Zeiten, on poems by Kästner, Bachman and Jünger,choir (only the second and third of these are available), 2000;Three Duetsfor flutes, 2001;For Four Handsforpiano four hands, 2002;Three Preludesfor piano, 2003;Second Solo Suitefor flute, violin, viola or cello,2003;Guitar Duetfor two guitars, 2006;We Who Mournfor choir, 2007; Trio With Guitar for guitar andtwo clarinets or two recorders or two violas, 2008;Canonsfor two- and four-hand piano, 2009;Flute Trio,2012; Twenty Studiesfor piano, 2013-14;Music for Stringsand Two Encores for Stringsfor 2vln, 2vla,2vlc, 2015;Album for Choir, 2015;Eight Pieces for Guitar, 2017.
Arrangements include: By J. S. Bach:Trio BWV 655, piano and flute;Vor deinen Thron BWV 668,piano;Fugue in F minor BWV 689, SATB recorders;Four Duets BWV 802-5, keyboard;Six Preludes andFuguesfrom Book I, keyboard;Flute Sonata BWV 1031in G major for alto recorder and keyboard;FluteSonata BWV 1032completed by Peter Billam for flute and keyboard, also in C major for alto recorder, andin G major for descant;Ricercare a 3 of the Musikalisches Opferfor keyboard;Ricercare a 6, for sSATBGrecorders, or strings, or two keyboards; andFuga Canonica; from theArt of Fugue: Contrapuncti 1, 4 and9for keyboard, andContrapunctus 14as completed by D. F. Tovey, for keyboard, or for SATB recorders, orfor strings;Passacaglia and Fugue in cfor piano four hands;Chorales with Descantfor melody instrumentand piano;Cello Suites I, II and III for flute or alto recorder, Forty Chorales for piano,Der Geist hilftforSATB-SATB recorders. By Brahms:Fugue in Ab minor for organ, for SATB recorders and gamba, in Aminor; Choralvorspiele for organplus settings by Isaac, Bach, Praetorius, recorders.John Carr, Divisionson an Italian Ground, flute or recorder and guitar. Franz Liszt,Late piano pieces, G.F. Händel:ConcertoGrosso in A minorop 6 no 4, harpsichord and recorders;Recorder Sonata in Bbno 5, in G for tenorrecorder and keyboard. ClaudioMonteverdi, Ecco Mormorar l’Onde, SSATB recorders. ArnoldSchoenberg:Verklärte Nacht for piano. Franz Schubert:Four Songs, voice and guitar;Dances, recordersand guitar, Dances, piano 4 hands.Scriabin,Two Preludes op.67; Five Preludes op.74, piano. Telemann,Twelve Flute Fantasias, recorder. Wilbye, Draw on sweet Night, SSATTB recorders, and for flute choir.Twelve Italian SongsandSeven English Songs, voice and guitar;Folk Guitar Solos; Fourteen Folk DanceTunes, recorder and guitar;Bushband Dances, violin, accordeon and banjo;Easy Classical Pieces, Bbtrumpet and piano;Famous Beginnings, for piano.
These pieces are under theCreative Commons Attribution 4.0licence. Very briefly:
• You may copy and redistribute the material in any medium or format.
• You may transform and build upon the material for any purpose.
• You must give appropriate credit, and indicate if changes were made.
Feel free to visit. . . www.pjb.com.au
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