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:

TECHNIQUE

Double Hammer-ons and Pull-offs on Fretted Strings In measure 11 and in measures 14 and 16 of the coda, you are asked to stop a four-string form (marked with a reversed paragraph sign) and then hammer on at once to two fretted strings. To get the right sound, you'll have to practice keeping firm pressure on the stopped form with fingers T, 1, and 2, while fingers 3 and 4 perform a strong simultaneous H on strings 2 and 3.

In measure 11 of the coda, there is a double fretted pull-off on strings 1 and 3. To get the right sound, stop all four notes (two plucked notes and two P-notes) at the same time. Keep the P-notes (fret 5, string 1 and fret 6, string 3- A and C#) firmly stopped as you pull off both plucked notes (fret 7, string 1 and fret 7, string 3-B and D) simultaneously.

Modulation and the Circle of Fifths

A key change within a piece of music is known as a modulation. When the modulation is long-lived, the key signature (Appendix A) is changed. If not, the key change is indicated by a trial of tell-tale accidentals.

All movement to circle-of-fifths double dominants, triple domi-nants, and the like is considered a form of modulation. For example, when a double dominant chord (say 0 or 0 7 in the key of C major) leads to a dominant chord (G or G7), that dominant chord in effect becomes the new tonic chord of the passage (see pp. 102 and 157). Until such bme as the G-chord resumes its role as the dominant of C (leads back to a C-chord harmony), the key of the piece is officially considered to be G major.

CHROMATIC MODULATIONS

Chromatic modulations are noncircle-of-fifths key changes effected via voice leading. For example, taking an entire triad up or down a half step is an ideal voice-leading situation that appears frequently in guitar music. Each time a triad is moved in this manner, the new chord in effect becomes the tonic chord of a new key. In "Big Road Blues," for example (see Chapter 5), when the harmony changes from D to Th, the 0~ major chord actually becomes the tonic of the passage. The tune is then considered to be in the key of I)!, major until such time as the harmony moves from a 0~ chord back to a D chord.

Alternatively, one or two voices in a chord can be raised or lowered a half step to form the nucleus of a new chord, even when the new chord is far away from the original chord on the circle of fifths.

179

Figure 7- 8

t VII

2

4

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180

3

1

1 b

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I 0

3

III

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2

This new chord is then considered the tonic chord of the passage until the next modulation occurs.

In part D, measures 12-13 of "Paragon Rag, " for example, the harmony moves from C chord (C-E-G) to an Ab chord (Ab-C-B) by way of voice leading (G to Ab, E toE~) and a suspension (C to C). Ab is then considered the tonic of the passage until the middle of measure 14, when the key returns via chromatic modulation to C major. As you might expect, chromatic modulations are usually accompanied by a large number of accidentals. The names of the chords involved can then be determined by examining their spelling.

No collection of fingerstyle guitar tunes would be complete with-out at least one classic piano rag transcription. For this volume, I've arranged Scott Joplin's "Paragon Rag. " This tune, which was first published in 1909 by Seminary Music Co. of New York, appears in a modern volume called Scott Joplin: Collected Piano Works. A fine version of the tune is played by Joshua Rifkin on his album, Piano Rags by Scott Joplin, Volume II. In his linear notes, Rifkin observes that "'Paragon Rag' unites the exuberance of [Joplin's] earlier music with a mature subtlety of detail. "

This arrangement is based on the original piano music and is in the original piano keys (G major and C major). Fingering diagrams are in figure 7-8.

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Erik Frandsen

186

Erik Frandsen has been an integral part of the Greenwich Village Folk Music scene since the late 1960s. His mastery of the guitar has earned him the nickname "The Old Professor" and the respect of his peers. He has backed up many performers in New York and on tour (often using such aliases as Fresno Slim) and has performed exten-sively as a solo artist throughout the eastern half of the United States. One of his banjo compositions appears in my Melodic Clawhammer Banjo book.

Erik took up the guitar in the early 1960s. He studied country blues style by listening to recordings of such players as Robert John-son, Lightnin' Hopkins, and Spike Jones, and he is generally consid-ered to be a master of the idiom. In recent years he has turned a good deal of his energy to guitar composition. Erik has these words to say for himself:

"Erik Frandsen was a disc jockey at the age of 15, has played as well as M. C.'d countless concerts and festivals, done many recording sessions, acted on Broadway, and was once a wheelman for the noto-rious Danny "Extreme Unction" Shea. He lives in New York City. He needs work. He is in the phone book."

"Mary-Joan or the Siege of Leningrad" is an Erik Frandsen composition. 6 Erik notes that it was "written for my favorite actress and frequent muse, Mary-Joan Negro, as a consolation prize for being in a bad Russian play."

The piece is quite long and structured loosely with four parts of varying length. Each section has a different theme, but short motifs reappear frequently throughout the work. The piece is held together by a well-conceived bass line, which takes the player via voice leading through a large number of interesting and unusual harmonies. This style of composition is very reminiscent of Baroque music, and the piece can be thought of as a hybrid of the country blues and baroque musical styles. Erik describes it as "a 17th Century English pastoral Disco Bossa-Nova Gavotte. Mostly English, but it does contain ele-ments of French, Russian, Italian; Roquefort, and Thousand Islands."

Erik, who is noted for his wit, has offered a musical direction to go with each part. Part A has the direction "AI Dente" (with bite), pa.rt B has the direction "Con Brillo" (with steel wool), part C has the direction "Con Molto Calamari" (with lots of squid), and part D has the direction "Drano." Fingering diagrams for the tune appear in figure 7- 9.

6"Mary-Joan or the Siege of Leningrad,'' 1985 by Erik Frandsen.

Figure 7- 9

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Nick Katzman

TECHNIQUE

Different Length Measures and Cut Time In cut time, a half note counts as one beat and there are two beats per measure. The signature ~ then, indicates a measure with one cut-time beat, while~ signifies a measure with three cut-time beats.

Besides one ~ and a number of 1 measures, this piece also in-cludes one ! and a couple of ~ measures. The ! measure has a duration of half a cut-time beat (the length of one quarter note) while the ~ measures last one and a half cut-time beats (the length of a dotted half note). Remember that the first beat of every measure is always accented, no matter how many beats are within it.

Playing Open Treble Notes under a Full Barre In part A, measure 6 and in a number of other locations, you are asked to play an open treble string (say string 2) while holding on to a barred bass note (in this case, fret 2, string 5, or low B). To accomplish this, keep your first finger in barring position, but raise up your arm and thrust your wrist out considerably. This will permit you to lift the attached joint of your barring finger off the treble strings, while still maintaining pressure on the bass strings.

Nick Katzman is an outstanding guitarist and gifted composer from New York City. He has accompanied such blues singers as Terry Garthwaite, Rachel Faro, and Rory Block (Chapter 5) and has per-formed extensively as a solo artist both in the New York City area and in the San Francisco Bay area of California. His two albums recorded for Kicking Mule- Mississippi River Bottom Blues and Sparkling Ragtime and Hardbitten Blues- feature a number of exquisite origi-nal guitar instrumentals.

Nick was born in Paris, but his family moved to lew York soon afterwards. He studied blues guitar in the mid-1960s with Reverend Gary Davis and Stefan Grossman. One powerful influence he men-tions was the experience of being a young guitarist at the Newport (Rhode Island) Folk Festivals of 1965 and 66, where he was able to hear and learn from such legendary blues masters as Mississippi John . Hurt, Son House, and Skip James.

Starting in the early 70s, Nick embarked on a formal study of the guitar. He took lessons in theory, classical guitar, and jazz guitar, and he even learned to play the baroque lute. By combining these formal influences with his country blues background, he has developed a powerful, crystal-clear yet lyrical style of playing and composing.

Nick also plays pick-style Chicago blues guitar. As lead guitarist in the backup band for New York bluesman Guitar Crusher, he has spent the last couple of years on tour in West Germany.

193

Figure 7-10

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194

"Ph ilosophy Rag" is a Nick Katzman original, appearing on his Sparkling Ragtime and Hardbitten Blues album (Kicking Mule). 7 Nick writes, "It's more of a chordal rag than a melodic one. It in-volves unusual harmonies and deceptive cadences, and though based on classic piano rag composition, it makes use of devices and musical approaches unique to the guitar. "

The piece shows a wealth of musical influences. There are, of course, melodic ideas and stylistic devices borrowed from classic rag-time. In addition, Nick borrows ideas and conventions from the country blues, baroque music, and even Gershwin. He has structured the piece roughly like a classic rag, but there are some notable dif-ferences. Classic rags, as you know, have four repeated 16-measure parts. In "Philosophy Rag," part A, which is not reprised between parts B and C, is 24 measures long .. Part C is 23 measures long and not repeated, while part D is only nine measures long. In most classic

rags, part C moves to a new key. In this piece, part B begins on the relative minor key (F" minor) and ends on a new key (D major). Parts C and D return to the original A major key. Observe the continual circle-of-fifths and chromatic modulations throughout the piece. Ob-serve also the constant use of unique fingering forms and creative chord voicings.

The third ending of part A is to be used only as the coda of the piece. Fingering diagrams are in figure 7-10.

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7"Philosophy Rag," by Nick Katzman, 1979 by Kicking Mule Publishing Co., Inc. Used by permission.

--

Standard tuning Keys: Parts A. C. 0 : A maior

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199

200

TECHNIQUE

Playing Open Bass Notes under a Full Barre In part B, measures 1, 2, 4, and 9, there are open bass notes in the middle of barred fingering forms. This means that you must maintain pressure on the treble strings with the underside of part of the first finger, while rocking the fingertip up off the fretboard over the bass strings.

Chapter-opening photos: left, Andy Polon (photo by Bernie Liebler); right , Janet Smith (photo by Barbara Renan)

Appendix A: Notes, Scales, and Keys

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Figure 8- 1

202

Most European and American music is based on a scale of seven tones, each named for a letter of the alphabet:

ABCDEFG

These tones repeat over and over again at higher and lower levels. So after any G, there is another A (followed by a B, a C, and so on). Before any A, there is another G (preceded by an F, an E, and so on). The distance from any tone to the next higher or lower same-letter tone is called an octave. The guitar has a range of nearly four octaves; the piano has a range of nearly 'seven octaves, and so on.

These seven tones (A- G) are called natural notes. When played in order for the distance of one octave from any starting point (A-B-C-D-E-F-G-A, C-D-E-F-G-A-B-C, and so on), these notes form a di-atonic scale.

Figure 8-l shows a fingerboard diagram for the first 12 frets of a guitar in standard tuning. Natural notes are listed in the locations where they occur. Notes in the low octave (low E, low F, and so on) are shown without primes, notes in the middle octave (middle E, middle F, and so on) are shown with one prime, notes in the high octave (high E, high F) are shown with two primes, and notes in the very-high octave are shown with three pri mes. Observe that a single pitch can occur at a number of different locations on the fingerboard.

By convention, notes on the guitar are written one octave above their actual pitch. LowE's actual pitch is two E's below middle Con the piano, but it is written as one E below middle C. High E's actual pitch is E above middle C on the piano, but it is written as two E's above middle C. The written pitch of the guitar's open strings is shown in figure 8- 2. .

Figure 8-2

' 4 J J J r F lowE A D G B high E

MAJ9R, MINOR, AND MODAL SCALES

The first widely used diatonic scales were what we now refer to as modal scales. These include the Dorian scale (0-E-F-G-A-B-C-D), the Phrygran scale (E-F-G-A-B-C-0-E), the Lydian scale (F-G-A-B-C-0-E-F), ' and the Mixolyd ian scale (G-A-B-C-0-E-F-G). These scales still appear frequently in American and European folk music.

The major scale (do- re- mi- fa- so-Ia- ti- do) and the natural minor scale came into general use a few hundred years ago. The all-natural-note major scale is C-0-E-F-G-A-B-C, while the all-natural-note minor scale (also called the Aeolian mode) is A-B-C-0-E-F-G-A.

SHARPS AND FLATS (.THE CHROMATIC SCALE)

Look again at figure 8- 1 and observe that some natural notes are one fret (a half step) apart, while most others are two frets (a whole step) apart. The notes found on the frets between the natural notes are known as sharps (#) and flats (~ ). For example, the note between C and D is known as C# or 0~; the note between F and G is called F# or G~, and so on. A series of notes that includes all the natural notes and sharps and flats for the distance of one octave is called a chromatic scale. Observe in figure 8- 1 and in the following C chromatic scale (figure 8-3), that the notes E- F and B- C are only a half step (one fret) apart and have no intervening sharps and flats.

Figure 8-3

C# D~ D# E~ F# G~ G# A~ A# 8~ I ' \ / ' \ / ' \ I ' \ I ' '\

C D E- F G A 8 -C

KEYS

If you take the all-natural-note major scale (C-0-E-F-G-A-B-C) and compare it to the C chromatic scale you'll observe that the sequence of whole steps and half steps is as follows: whole, whole, half, whole, whole, whole, half. Only a natural diatonic scale beginning on C has this particular order of whole and half steps. By using sharps or flats, however, you can start from any natural note (or even from a sharp or flat) and create the same order of whole and half steps.

Each series of notes with this order of whole and half steps is then a major scale in its own right, and the starting note, known as the key or tonic note, determines the key of the scale. For example, a major scale beginning on G (called a major scale in the key of G, or simply G major) runs G-A-B-C-0 -E-F#-G; a D-major scale runs 0-E.,F#-G-

203

204

A-B-C#-D; an A-major scale runs A-B-C#-D-E-F#-GH-A, an F-major scale runs F-G-{\-Bb-C-D-E-F, a Bb major scale runs Bb-C-D-Eb-F-G-A-Bb, and so 'on.

Similar principles can be applied to constructing minor and modal scales in the various keys. The all-natural-note D Dorian scale (D-E-F-G-A-B-C-D) for example, runs whole (step), half, whole, whole, whole, half, whole. An A Dorian scale then, is A-B-C-D-E-F#-G-A, an E Dorian scale is E-FH-G-A-B-C#-D-E, and so on. The all-natural-note G Mixolydian scale (G-A-B-C-D-E-F-G) runs whole, whole, half, whole, whole, half, whole. A D Mixolydian scale, then, is D-E-F#-G-A-B-C-D; an A Mixolydian scale is A-B-CH-D-E-F#-G-A, and so on. The all-natural-note A Aeolian (natural minor) scale (A-B-C-D-E-F-G-A) runs whole, half, whole, whole, half, whole, whole. An E minor (Aeolian) scale, then, is E-FH-G-A-.B-C-D-E; a B minor scale is B-C#-D-E-FH-G-A-B, and so on.

KEY SIGNATURES AND RELATIVE KEYS

Key signatures are placed at the start of each line of music to indicate the key of that line. A signature of no sharps or flats, for example, indicates an all-natural-note scale (C-major, D Dorian, and so on). By examining the overall sound of the piece and, in particular, the concluding measure or two, it is usually easy to determine which natural-note scale is indicated. One hint: The very last note of a tune is usually the tonic note of that tune. Another hint: Since more than 90 percent of the music you're likely to encounter is in a major key, assume the piece is major unless there are strong indications to the contrary. All scales with the same key signature are called relative keys.

Figure 8- 4 Relative Keys KEY SIGNATURES MAJOR MINOR DORIAN MIXOLYDIAN

no# or~ c A D G AI G E A 0 F#, a D B E A F#, Q, G# A F# B E

A!, a, ct D# E a AI B A!, a, G#, D#, A# B G# a F# Fll, Q, G#, D#, A#, E# F# D# G# a B~ F 0 G c B~, H B~ G c F Bb, E~ , A~ E~ c F Bb B~ , Eb, A~, Db A~ F B~ Eb

B~, H, A~, Db, 0 Db Bb H A~

B~, H, A~, Db, 0, 0 0 E~ Ab 0

Appendix B:

Similarly, a signature of one sharp (always F~) indicates all the diatonic scales made of six natural notes and F, such as G-major, A Dorian, E minor, and so on, all of which are considered relative keys. Figure 8-4 shows some key signatures and some of the relative keys they indicate.

A Daily Exercise Routine

A 10- to 20-minute exercise routine to warm up your fingers is an excellent prelude to daily practice. I'll discuss right- and left-hand exercises separately. I'm not suggesting you do all of these every day. Experiment with all of them until you find a routine that's right for you.

RIGHT-HAND EXERCISES

Daily Fingerpicking Exercises (see Chapter 4). Time: about five minutes.

Arpeggio Exercises There's a standard work called 120 Exercises for the Right Hand by Mauro Giulianni. Learn about 10 exercises per week (each is only two measures long). Once you are familiar with all the exercises, run through about 20 or 30 per day as a warmup. Time: about five minutes.

LEFT-HAND EXERCISES

Segovia Scales A book called Diatonic Major and Minor Scales by Andres Segovia is very helpful in learning the fingerboard, facilitating position shifts, achieving left-hand agility, and mastering a four-fret stretch at each position. Learn one or two scales per week. Once thoroughly learned, all 24 major and minor scales can be played through in less than l 0 minutes.

Jazz Guitar Scales A Modern Method for Guitar (Volumes 1-3) by William Leavitt presents a collection of scales with a basic four-fret stretch that often calls for a five-fret stretch. After a few five-fret stretches, a four-fret stretch seems like a piece of cake! The book is intended for flatpick style, but you can play through the scales by alternating your plucking-hand fingers in the manner suggested by the Segovia book. Read through one or two scale series a day. Time: less than five minutes.

Hand P Exercises See Fingerstyle Guitar, Chapters 8 and 9 and this book, Chapter 6. I suggest that you run through the "Hammer-on and Pull-off Warmup" (Chapter 6) every day. For even more agility, play the other exercises as well. Time: five to ten minutes.

205

Appendix C: Nai l Care

If you're going to pick with your nails, you'd better get used to the idea of devoting considerable energy to keeping them in playing shape. The nail grows out from the finger with sharp corners. These must be filed so that the edge of the na il takes on a semicircular shape. The best tool to use for this purpose is an "emeryll" or "diamond" fi le (a metal file coated with fine particles). After fil ing, the edge of a nail should extend about one-eighth of an inch past the fingertip and about a quarter of an inch past the thumbtip.

To prevent tearing of the nail while playing or during routine use, file any tiny nicks or dents smooth with ~ 500 or ~600 Carbide (wet-and-dry) paper, which is available in hardware stores. If you have soft or brittle nails, you can assist nature by applying a nail conditioner on both inside and outside of the nail anywhere from once a week to once a day. Nail conditioners, which are not shiny, contain gela-tinlike substances that sink in and add mass to the nail. For safety's sake, avoid brands that contain formaldehyde.

Appendix 0 : Metronomes

206

Metronomes are clocklike devices designed to click at a constant rate. This rate can be altered by spinning a dial or moving a metal weight along a shaft to va rious marked settings. A metronome setting of 72, for example, causes the machine to click 72 times per minute. Musi-cians play a tune or exercise at the rate of one beat per click. By increasing the setting, the metronome beats faster, and the musician is constrained to play at a quicker pace.

Notation using metronome settings is a useful way of indicating the icieal tempo for va rious tunes. The kind of note counted as one beat is determined (quarter notes in ~ time, half notes in cut time, and so on), then equated with a metronome setting as follows:

~ = 96

J = 60 J.=n

The top entry means that a t t or ~ tune should be played at a speed at which each beat coincides with a click on a metronome set at 96; the second entry means that a cut-time tune should be played at a speed at which each beat coincides with a cl ick on a metronome set at 60. The thi rd entry applies to meters like~' ~' or ~' where one click covers the space of an entire eighth-note group (three eighth notes

Discography

equal one dotted quarter note). It indicates that a piece is to be played at a speed at which the beginning of each group coincides with a click on a metronome-set at 72.

Pink Anderson: Medicine Show Man. Prestige/Bluesville 1051. Geoff Bartley: Blues Beneath the Surface. Magic Crow 1001. B ENSUSAN, P IE RRE.

Pres de Paris. Rounder 3023. Pierre Bensusan az. Rounder 3037 . . Musiques. Rounder 3038. Solilai. Rounder 3068.

Berkeley Fam1s. Folkways FA 2436. Berkeley Out West. Arhoolic 4001. Blind Blake: Bootleg Rum D11;.m Blues. Biograph BLP-1 2003. Allan Block: Alive and Well and Fiddlin'. Living Folk 104. BLOCK, RoRY.

Intoxication. Chrysalis CHR-1157. You're the One. Chrysalis CHR-1233 . High Heeled Blues. Rounder 3061. Blue Horizon. Rounder 3073. Rhinestones and Steel Strings. Rounder Rory Block and Stefan Grossman: How to Play Blues Guitar. Kicking

Mule Boys of the Lough: Lochaber No More. Philo 1031. Big Bill Broonzy: 1930's Blues. Biograph BLP-Cl5. Gill Bums: Aloan at Last. No Such GEB-875 1. Howie Bursen: Cider in the Kitchen. Folk Legacy FSI-74. Sam Chatman and the Barbecue Boys. Flying Fish. The Chieftains #2. Claddaugh TA4. Charlie Christian. Everest FS-2 19. Lynn Clayton. Airship AP85. Michael Coleman: The Legacy of Michael Coleman. Shanachie .

33002. Contemporary Ragtime Guitar. Kicking Mule. Reverend Gary Davis. Yazoo L-1023. Morgan Davis: I'm Ready to Play. Bullhead. The Delmore Brothers: Brown's Ferry Blues. (County 402) John Fahey: Old Fashioned Love. Takoma C-1043. Archie Fischer: Man With a Rhyme. Folk Legacy FSS61. Amos Garrett: Amos Behavin. Stony Plain.

207

208

Wendy Grossman: Roseville Fair. Lincoln House LHR 68001. (Avail-able from Silo Records).

Lightnin' Hopkins. Arhoolie F1022. Son House: The Real Delta Blues. Blue Goose 2016. Mississippi John Hurt: 1928 Sessions. Yazoo 1065. Blind Lemon Jefferson: 1926- 9 Vols. 1 and 2. Biograph BLP-12015. ] ENKS, GLEN .

Antidote. Bonnie Banks 102. Background Music. Fretless 157. The Ragtime Project. Bonnie Banks 103.

Lonnie Johnson: Mr. Johnson's Blues. Mamlish 53807. Robert Johnson : King of the Delta Blues Singers. Columbia CL 1654 K AIRO, PETE.

Playing it Safe. Physical World PR32-006. Hanging Out. Physical World PR32-014.

K ATZMA ' NICK.

Mississippi River Bottom Blues. Kicking Mule KM 111. Sparkling Ragtime and Hardbitten Blues. Kicking Mule.

Jo-Anne Kelly. Blue Goose 2009. B. B. King: Live at the Regal. ABC Paramount ABCS-509. Leadbelly: Take This Hammer. Folkways 31019. Colin Linden: Colin Linden Live. Ready L-1 011. Andy McGann and Paddy Reynolds. Shanachie 29004. Brownie McGhee and Sonny Terry: Browny and Sonny. Everest FS-242. Willie McTell: The Early Years. Yazoo L-1005. ME OELSON, JoE.

Jack Frost. Boot. Let's Party. Boot.

Melange. Amsterdam Folk Collective Jelly Roll Morton: Piano Classics, 1923- 4. Folkways RF-47. Old Time Fiddle Classics. County 507. Charlie Patton: Founder of the Delta Blues. Yazoo L-1020. Ken Perlman: Clawhammer Banjo & Fingerstyle Guitar Solos. Folkways

ITS 31098. Andy Polon: Mad Metropolis. ADP 101 . Malvina Reynolds: Artichokes, Griddle Cakes, and Other Good Things.

Pacific Cascades LPL-7081 . Joshua Rifkin: Piano Rags by Scott Joplin , Vol. II. Nonesuch H-71264. SEEG ER, PETE.

Singalong. Folkways FXM-36055. Circles and Seasons. Warner Bros. BSK-3329. The Bitter and the Sweet. Columbia CL-1916.

Circles and Seasons. Warner Bros. BSK-3329. The Bitter and the Sweet. Columbia CL-1916. Arlo Guthrie and Pete Seeger: Precious Friend. Warner Bros. 2BSK-3644.

Bibliography

SMITH, ]A ET. The Unicorn. Takoma Al027. I'm a Delightful Child. Pacific Cascades LPL-7027.

Some People Who Play Guitar (Like a Lot of People Don't). Kicking Mule KM104.

Bill Steele: Chocolate Cookies. Swallowtail ST-8. Taj Mahal: The atch'l Blues. Columbia CS-9698. TRAUM, HAPPY.

Relax Your Mind. Kicking Mule 110. American Stranger. Kicking Mule 301. Bright Mornin' Stars. Greenhays GR703. Friends & Neighbors. Vest Pocket VPOOI. Happy & Artie Traum: Hard Times in the Coun try. Rounder 3007.

yA 1 Ro K, DAvE. Dave Van Ronk, Folksinger. Prestige/Folklore 14012. Dave Van Ronk Sings the Blues. Verve Folkways FVS-9006. Just Dave Van Ronk. Mercury SR-60908. Dave Van Ronk and the Jug Stompers. Mercury SR-60864. Gambler's Blues. Verve Folkways FVS-9017. Inside Dave Van Ronk. Prestige/Folklore 14025. Sunday Street. Philo 1036. Somebody Else, ot Me. Philo 1065.

The Weavers: Together Again. Loom 1681. The Woman's Guitar Workshop. Kicking Mule 139.

BE SUSAN, PrERRF:. Le Livre de Guitare de Pierre Bensusan. Paris: Pub-lished by Author, 1984. (U.S. distributor-Mike Savicki, 44 Howe St., Framingham, MA).

BLOCK, RORY A D GROSSMA , STEFA 1 How to Play Blues Guitar. Berkeley, CA: Kicking Mule Publishing, 1966.

CHRISTESON, R. P. The Old Time Fiddler's Repertory. Columbia, MO: University of Missouri Press, 1973.

GIULIAN r, MA URO. 120 Exercises for the Right Hand. Italy: c. 1810. Available in several editions.

]OPLit , ScoTT. Collected Piano Works. New York: New York Public Li-brary, 1971.

LEAVITT, WILLIAi\1. A Modern Method for the Guitar, Vols. I-III. Boston: Berklee Press, 1966, 1968, 1971.

MA , WooDY. Early Blues Guitarists. lew York: Music Sales, 1973. "Fingerstyle Jazz lmprovization" (tape series) New York: Guitar Work-shop Co.

NOTE: The bibliography includes listing of instructional tapes.

209

210

O'Neill's Music of Ireland. Chicago, 1903. Reprinted New York: Dan Col-lins, 1973.

PERLMAN, KEN. Clawhammer-Style Banjo. Englewood Cliffs, N.J.: Prentice-Hall, 1983. Fingerpicking Fiddle Tunes: Traditional Dance Music Arranged for Fin-

gerstyle Guitar. ew York: Chappell Music, 1978. Fingerstyle Guitar. Englewood Cliffs, N.J.: Prentice-Hall, 1980. Melodic Clawhammer Banjo. New York: Oak Publications, 1979. New England and Irish Fiddle Tunes for Clawhammer Banjo. New York:

Chappell, 1980. "Clawhammer Banjo" (tape series). Woodstock, NY: Homespun Tapes. "Clawhammer Style Banjo" (videotape series). Dunlap, IL: Video Music

Productions. SEEGER, PETE. How to Play the 5-String Banjo. ew York: Music Sales,

1961. SEGOVIA, ANDRES. Diatonic Major and Minor Scales. Washington, D.C.:

Columbia Music, 1953. SHARPE, CECIL J. The English Folk Song: Some Conclusions. London:

Simpkin, 1907. SMITH, JANET. Fingerstyle Guitar Solos. Fullerton, CA: Centerstream

Publishing, 1983. TRAUM, HAPPY.

Fingerpicking Styles for Guitar. ew York: Oak, 1966. The Guitar of Brownie McGhee. New York: Oak, 1971. Traditional and Contemporary Fingerpicking. New York: Oak, 1969. "Fingerpicking Guitar" (tape series). Woodstock, NY. Homespun Tapes. "Country Blues Guitar" (tapes series). Woodstock, NY. Homespun

Tapes. "Flatpick Country Guitar" (tape series). Woodstock, NY. Homespun

Tapes.

A

Accidentials, 157, 158-59, 179 Aeolian mode. 203 All-natural-note major scale, 203 All-natural-note minor scale, 203 Altered chords, I 50 Altered minor scales, 157, 168 Altered scales, 127-28 Alternating bass, 22, 76 "Andy's Augmeutcd Rag," 170- 72 Arpeggios, 82, I 07 Augmented chords, 168

B

Ballad melodies, 116 "Banish Misfortune," 128-30 Baroque lute, 148 Baroque tuning, 2 Barre chords, 33, 67 Bartley, Geoff, 21, 83-86 Bass, 107 Bass line, 2, 157 Beats, 9 Bensusan, Pierre, 147, 155 "Big Road Blues," 94- 96, 179 "Billy in the Lowgrouncl, H0- 4 2 Blake, Blind, 3, 76, 78 Block, Allen, 78 Block, Rory, 75, 78- 80, 11 0, 193 Blue notes, 76, 82, 107 "Blue Railroad Train," 54-56 Blue scales, 39, 76 Blues turnaround, 69 B minor chord, 57 "Bonnie Charlie," 138-40 Boogie break, 82 Boogie-woogie bass, 2, 82 Breaks, 49 Broken chord, 18 Bromberg, David, 78 Broonzy, Big Bill, 122 Brown; Willie, 110

"Brown's Ferry Blues,'' 46-49 "Bullfrogs on Your Mind," 83-86 Burns, Gill, 115, 120-21 Burscn, Howie, 131

c "Careless Lo'e." 69-71 Carthy, Martin, 155 Chatman, Sam, 174 Chieftains, The, 128 Choke, 28 Chord-melody, 155 Chord progression, 116 Chord relationships, 118-19 Chords:

altered, 169 barre, 3 3, 67 B minor, 57 Ct7, 82 circle-of-fifths, 157 compound, 149, 169 diminished seventh, 36- 37, 81 dominant, 101-2, 158 F minor, 38 Ft, 57 F!7, 101 major seventh, 81 modal dominant, 128 movable, 33 partial, 33. 68-69 relationships, 118-19 seventh, 81 subdominant, 101- 2 tonic, 101- 2

Chord symbols, 37, 57. 82. 9S. 168 Christian, Charlie, 107 Chromatic modulations, 19-+ Chromatic scale, 203 Circle of fifths, 102, 103, 179, 19-+ Clavichord, 148 Clayton, Lynn, 122-24 C major scale, 11 7, 118

C minor scale, 11 7, 118 Coda, 42 "Cold Feet Blues," 107-9 Compound chord, H9, 150 Contra-dance, I 31 Cooder, Ry, 155 Cotten, Elizabeth, 88 Cotton-picking, 23 (see also Pattern picking) Country blues picking, 76-77 Crusher, Guitar, 193 Curranta, I 22 "Curranta for Mrs. Elizabeth Murcott," 122-

24 Cut time, 131 , 173

D

Da Capo al Fine, 18 Dad-gad tuning, 2, 137, 138. 155 Dance-tune categories, 11 6 Davis, Cary (Reverend), 3, 62, 76, 78, 88,

106, 170. 193 Davis, Morgan, 174 D.C. al Fine, 18 Delmore, Alton, 47, 54 Delmore, Rabon, 47 Diatonic scale, 202 Diatonic seventh chords, 117 Diatonic triads, 11 7, 127, 134 Diminished seventh chords, 36-37,81, 159 Dominant chord, 101-2, 11 8 Dominant seventh chords, 102 Dorian scale, 203 Dotted eighth, 137 Dotted pairs, 134, 137 Double dominant chord, 157-58, 179 Double-stem note, 13 Double thumbing, 96 Drone bass, 2, -+2, 76, 102 Drop D tuning, 33 D.S. al Fine, 83 D.$. al ffi e poi Ia coda, 83 Dylan, Bob, 77, 83

211

E

Eleventh chords, 149 Exercises, 43, 72- 73, 143, 167, 205

F

F minor chord , 38 F! chord, 57, 101 Fahey, John, 106 Faro, Rachel, 193 Fermata, 38 Fiddle tunes, 116, 15 5 Fingering diagrams, 16 (see also individual

tunes) Fingering patterns:

harp effect, 31, 131 Finger-stretching exercise, 166- 67 Finger-style Guitar (Perlman), 2, 3, 7, 8, 9,

12, 17, 22, 32, 36, 50, 68, 94, 96, 116, 124, 205

Fingerstyle jazz, 155 Fischer, Archie, 138 Flats, 203 "Foxhunter's Jig," 130-31 Frandsen, Erik, 7, 186 Fretting hand:

barres, 14, 15 chord symbols, 14 fingering diagrams, 16 half barres, 14 movable chords, 15 position notation, 14

Fretwires, 174

G

Garcia, Jerry, 78 Garrett, Amos, 174 Garthwaite, Terry, 193 "Georgia Camp Meeting," 37-38 Grace notes, 28, 29, 157

double, 30 Graham', Davy, 155 Grossman, Stefan, 78, 155, 193 Grossman, Wendy, 11 5, 138-40 Guitar:

acoustic, 151, 174 classical, 155, 170 electric, 151, 174 jazz, 170 rock, 170

Guthrie, Woody, 77

H

H & P exercises, 142- 43 Hammer-on and Pull-off warm-up, 124-27 Hammer-ons:

alternate-string H, 25 double-string H, 25

Half barre, 27, 33, 57 Harmonic minor scale, 128 Harmonics, 2, 56-57

octave sign (8"0) , 174 strong, 173 weak, 173

Harmonies, choosing chords, 134 Harmony, 2- 3, 36, 133 Harp-guitar, 148

212

Harpsichord, 148 "Hesitation Blues," 98-10 I Hopkins, Lightin', 3, 50, 83, 186

1-lornpipes, 134 "Hot Chesh1Uts," 160- 65 House, Son, 78, 193 Hurt, Mississippi john, 76, 78, 88, 89, 193

Intervals: compound, 86 guitar, 59-60, 87 harmonizing, 61 sixths, 60, 61 tenths, 86 third voice, 61 thirds, 60, 61

Irish dance music, 155

J

James, Skip, 78, 193 )ansch, Bert, 15 5 Jazz chords, 169 jefferson, Blind Lemon, 77, 88 Jenks, Glenn, 147, 159 jigs, 120 Joe, Mendelson, 174 johnson, Lonnie, I 07 johnson, Robert, 3, 77, 186 Jones, Spike, 186 Joplin, Scott, 180

K

Kairo, Pete, J, 39 Katzman, Nick, 193 Kaukonen, Jorma, 98 Kelly Jo-Anne, 106 Key signatures, 179, 204- 5 Keys, 203, 204 King, B. B. , 77

L

"Le Voyage Pour L' lrlande," 155- 57 Leadbelly, 3, 43, 50, 88 Legato, 77, 107 Lewis, Furry, 88 Linden, Colin, 21, 174-75 "Living in the Country," 44-46 Lute, 148 Lydian scale, 203

M

McDowell , Fred, 78 McGhee, Brownie, 88, 102 Mackinnon, Raun, 170 McLean, Don, 122 McTell, Blind Willie, 76 Mahal, Taj, 78, 95 Major keys, 119 Major scales, 127, 203 Major seventh chords, 81 Mann, Woody, J, 106- 7 "Mary-Joan or the Siege of Leningrad," 186-

92

Measures, 9, 106 Melodic Clawhammer Bango (Perlman), 186 Melodic fingering patterns, 31, 144, 174 Melody, 2 Meter, 9 Metronomes, 206-7 Minor keys, 119 Minor scales, 127 "Mississippi Blues, The," 110-14 Mitchell, Joni, 122 Mixolydian scale, 203 Modal music, 116, 117, 137, 144, 155 Modal scales, 127, 203 Modulations, 179

chromatic, 179- 80 Morton, Jelly Roll, 96 Movable chords, 3 3 Movable jazz-chord forms, 2

N

Nail care, 206 Natural minor scale, 203 Natural notes, 202 ~ time tune, 130-31 Ninth chords, 149

0

O'Carolan, Turlough, 144 "O'Carolan's Welcome," 144- 45 Octave, 202 Open 0 tuning, 33, 79, 137 Open G tuning, 33 Open tunings, 32-33, 155

p

Paley, Tom, 88 "Paragon Rag," 180-85 Partial barres, 169 Partial chords, 33, 68-69, 150 Passages, 13 3-34 Pattern picking, 23, 25, 26 Patton, Charlie, 77 Paxton, Tom, 77 "Philosophy Rag," 194- 200 Phrygian scale, 203 "Piano Mover's Rag," 63- 65 Pickup notes, 9 Pilkington, Francis, 122 Playing directions, 36, 37, 56, 77, 96, 15 1,

166, 172, 174 Playing up the neck, 32-33 Plucking hand, 12

advanced, 30-31 bass runs, 30- 31 exercises, 71-73 harp effect, 31 thumb-index runs, 31

"Police Dog Blues," 78- 80 Polon, Andy, 170, 202 Proceed-to-coda sign, 42 Pull-offs, 26

H-P combinations, 26

Q

Quadruple dominant, 157 Quick slides, 28

R

Rags, I 51, I 59 classic, 194

Raitt, Bonnie, 78 Reels, 131 Reference marks, 16 Relative keys, 204 Renbourne, John, 155 Reprise, 150-5 1 Rhythm notation, I 0, 137, 173

half note, II rests, II syncopation, 12 tied notes, II, 12 whole note, II

Richardson, Dick, 122 Rifkin, Joshua, 180 Roll sign (see Broken chord} Rubato, 172

s "Sailor's Bonnet, The," 140 Scale notes, 82, 107, 117, 118 Scales, 202-3 Scotch snap, 2, 137, 138 Sebastian, john, 78 Seeger, Pete, 35, 77 Segno, 83 Seventh chords, 81, 107, 127, 134, 158 Sharps, 203 Shea, Danny, 186 Shocnbcrg, Eric, 155 "Silver City Bound," 43, 88-92 Simon, Paul, 122 Sixteenth notes, 49 Sixth chords, I 02, 168 Slapping the strings, 2, 94 Slide, 27

half-barre, 27 quick, 28

Slip jig, 130 Slow ai re, 117 Smith, janet, 202 Soloway, Michael, 7, 151 Southern fiddle tunes, 140 Staccato, 77 Staff, 8

Standard notation, 4, 168 (see also Tablature and standard notation)

Stokes, Lowe, 140 Stride bass, 96-97, 98, 107 Stride-drone bass, 97, 98 Subdominant chord, 101- 2, 118, 158 "Sunday Street," 50, 51-54 Swing eight notes, 107, 140 "Swingin' on a Gate," 131 - 33 Syncopation, 12, 24- 25

chord changes, 24- 25

T

Tablature and standard notation, 4, 8-18: accent symbol, 18 augmented chords, 168 broken chord, 18 choke, 17 choke symbol, 17 country blues, 17 Da Capo al Fine, 18 diminished seventh chords, 37 directions, 17- 18 double-stem notation, 13 finger notes, I 2 fretting hand, 14- 17 harmonics, 57 harmony, 36 meter, 9 plucking hand, 12- 13 position notation, 32 reference mark, 16 repeat signs, 17 rhythm notation, I 0- 12 simultaneous notes, 13 slur signs, 16 staff, 8 symbols, 17-1 8 thumb notes, 12

"Taylor's Twist," 133, 134- 36 Tempo, 17, 172 Terry, Sonny, 102 Thibodeau, john, 175 Thirds, I 02, 158 Thirteenth chords, 149 nlUmb fretting, 33 naumb-plucked eighth notes, 43 Time signatures, 9- 10, 106, 116 "Tobin's Favourite, " 120-21

Tonic chord, 101- 2, 118 "Tracy's Rag," I 51 - 54 Traum, Happy, 75, 87-93 'Travelin' Man," 39- 42 Travers, Mary, 170 Travis, Merle, 77, 88 Travis-picking, 23 (see also Pattern picking) Triads, 65, 81, 101 , 102, 11 7, 119, 133- 34

guitar, 66 harmonizing, 66 voicings, 66

Triple dominants, 157, 179 Triplets, 29, 107, 110, 137

eight-note, 173 quarter-note, 173 sixteenth-note, 173

Tristano, Lenny, 106 'Trouble in Mind," 102- 5 Tunes, vii, 3 (see individual song titles) Tunings, 120, 137:

drop D, 33 open, 32 open D, 33 open C, 33

~2 time, 93-94

u Up-the-neck bass notes, 32- 33

v Van Rank, Dave, 35, 50 Vibrato choke, 2, 151 Virginal, 148 Vocal melodies, 117 Voice leading, 82, 102, 150, 157, 179, 180 Voicings, 67

w Walking bass, 2, 82 Walking-stride-drone bass, I I 0 Watson, Doc, 77 "Way You Look in the Dark, The," 174,

175-79 White, Bukka, 78 Wolf, Howlin', 175

213

5ooks & DVD's 6 Ken Perlman CLAWHAMMER ~ STYLE BANJO ti.I!J A Compl~t~ Cuid~ for Beginning ond AdvoncN Banjo Pfoy~rs by Ken Perlman The handbook on how to ploy tile banjo. Cove" b.l>k right & ld\ hand positions.. simple chor~. and fulldamental dawhanuner ttch niques: the brush. the bu!UIIHiUy"'

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~ . ~ --:. ~

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