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How lb PlcryAlferneillng.BeissFlnge@e OulfeirSolosBy tleirk HansonI N C L U D E S :. l4 Guitor Solos. 7O-Minule Instructionol CD. Stondqrd Nototion & Tobloture. Tunes ond exercises ployed or

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The Art of

Solo FingerpickingHow to Plav

Alternating-BassFingerstyle Guitar Solos

Mark Hanson

CD Programl. "Strawberry Curl" 24. Exs.41A-C2. Introduction and Tuning 25. *8111Bailey" slowly3. Exs. 7A-B 26. ..Dedicated to Mississippi John Hurt"4. "Red, White & Blue Rag" slowly 27 . Exs. 46A-B5. Exs. 13A-D 28. ..Golden Valley"6. Exs. 14A-F 29. "Flier" slowly7. Exs. 15A-D 30. Exs.58A-C8. Exs. 16A-C 31. Ex.59A9. Ex. 17A 32. ..Good Time Blues"10. "Devil's Dream" slowly 33. Exs. 62A-8 & 63,411. "Freight Train" slowly 34.8x.64AI2.Ex.22A 35. Exs.7OA-B13. Exs.23A-D 36. Ex.71A14. "Fishin'Blues" slowly 37. "Strawberry Curl" slowly15. "White House Blues" slowly 38. ..Red, White & Blue Rag"16. Exs. 32A-C 39. .,Devil's Dream"17. Exs. 33A-D 40. .,Freight TFain,'18. "Over the Waves" 41. .lFishin, Blues',19. Ex. 36.\ 42.,,White House Blues"20. Exs. 37A-B 43. ..Bill Bailey"21. Ex.38A 44.,,Ftier,,22."Etude" 45. .,TWin Sisters,'23. Exs. 40A-C

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Contents

IntroductionWhat You Need To KnowThe Music And CassetteHand PositionRight-Hard PositionLeft-Hand PositionAlt€rnating-Bass Fundam€ntslsHow To Practice

'Red, White & BIue Rag"Beyond Pattem PlayingFreeing The Fingers

Rearranging Finger NotesVariations On Rearranging

14 Deleting Finger Notes15 Adding Finger Notes18 'Devil's Dream"20 'Freight Train"22 Freeing The Thumb24 "Fishin'Blues"

27 "lVhite House Blues"32 Alternating Bass ln Other Meten32 Quarter-Note Meters33 Eighth-Note Meters34 "Oyer The Wayes"36 Additional Thumb Techniques36 Thumb Plays Melody36 Overlap Of Right-Hand Thumb And Fingers39 "Etude"

40 Right-Hand RollsQ Three-Not€ Rolls4t) Four-Note Rolls42 'Bill Bailey"4 'Dedicsted To Mississippi John Hurt"46 Fi!€-Note Rolls48 "Golden Valley"52 "Flier"

5E Damping58 Left-Hand Damping60 "Good Time Blues"62 Right-Hard Damping63 Rest Strokeg Combining l*ft- And Right-Hard Damping66 "T\\/in Sisrers"70 Gaining Speed: Left-Hand Articulrtion73 "Strawberry Curl"76 App€ndices76 Appendix A: Tablature77 Appendix B: Glossary; Guitar Information78 Appendix C: Contemporary Travis Picking Piecest0 Acknowledgementst0 The Author

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Hand PositionRight-Hand PositionThe Travis Style

Merle Travis produced his char-acteristic sound by muting thc bass strings with the heel of his right hand (Fig.1). This technique produces a beaudful effect but seriously reJuces the angl; between the Thumb ",iJ tn" .t ing.,making the guitarist dependcnt on a trum'T'ick. I prefer to klep the right hand free from the iop or ne guitar (Fig. z).This position allows the full sound of the guitar to projec;, etmi-nates thumbpick dependence, and provides atechnique that is more easily adapted to other styles of piaying.

Fig. 2

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using no picks, cup ttre palm of the hand above the sfiings, keeping the fingers logether and fairty straight.cross the Thumb over the Index finger so that an upside-down "v" is formed between them @ig. 2). stretching theThumb beyond the Index keeps trem from colliding when they are picking simultaneously.

The fingen are pulled upward across_the- strings primaily by the large tnuckte (the connection to the hand),rather than by excessive bending of the smaller knuc es. me rnuittu .oues from its base, remaining strarght as itplucks downward. The hand itself should remain almost motionless, with all of the work done by tie rnumt anofingers.

Please note:

1) when playing accompaniment pattems in the alternating-bass style, the frngers of the Right hand shouldnever rest on the s[ings before plucking theT. In sols ijrcgrplckllg, howiver, a fullihapter rs oev;iio to oamping:gig:,_yr^h

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..^ .2) !9me rrngerpickers resta finger-or tw_o _(or three!) on the top of tie gnitar as they pick. I recommend tie"free hand" posirion instead, so that thelndex, Middle, anrr Iiiog nn!"ii au a." auailable for ilircking. -

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Alternating-Bass FundamentalsFour Travis Pick Patterns

The Travis Pick style is characterized,by an altemating-bass pattern plucked by the Thumb. The meter isalmost always two or four beats per measure (214,414,6/g, or {Z/g).

RuIe #1: The root note of the chord is always the first note plucked by the Thunb. Rules are made to bebroken, of course, but adhere to Rule #l for the time being.

Ex. 7A shows a standard bass pattern in 4/4 ume on a C chord:

To produce a complete{ravis Pick pattern, treble notes plucke.d by the Right-hand fingers are added to theTo$ pattern from Ex. 7A. The treble notes most often nt into one of four distiict patterns:Finch, Inside-Out (I-O), Outside-In (O-I), Ad les9g1ding-Arpeggio (D-A). All of these parems may be played by the Thumb and Indexfinger alone (as Merle Travis did). However, plucking with the Middla and Ring nngers--in addition to the Thumb andIndex--provides more variety and a fuller sound. At one point in Solo Fing6rpic-king even the Little finger of theRight hand is incorporated into the picking scheme.

Ex. 78 illustrates all four Travis Picking patterns, plucked by the Thumb and three fingers. In general, theThumb plucks the three bass strings, the Index plucks the tlird string, the Middle plucks the second, anO tne ningplucks the first. However, chords ttrat have the root note on the fourth string @7 in ,n"**" 2, for example) do noiuse the Ring finger for plucking.

Measure 1 of Ex. 78 illustrates the Outside-In pattern (so named because the outside finger [the Mddle orRingl plucks before the inside finger [the Index]). Measures 2-4 illustrate the Inside-Out, pinch, andDescending-Arpeggio panems, respectively.

Ex . 7B

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Ex. 7A

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Red, White & BIue Rag"Red, White &-Bfue Rag" is a ragtime piece in the style of guitar legend Doc Watson. It uses mainly thepinch pattern, with slight variations. The piece is very rirnit- to "ovir And Out Rag,, from The Art ofContemporary Travis picking, and works nicely as a medley with iu

Performance Notes:l) All C-chords: Fret the fifth- and.sixth-string notes with the left-hand rlng finger, either altemating back andforth, or frening both at ortce (if you can manage). That leaves the little finger available for melody notes onthe treble strings.2) All F-chords: The sixth string is frened by the thumb. A barre-chord fingering may be used for the F-chords,

with the ring finger fretting the fourth string, 3rd fret. The little finger then is available for the second-string3rd-fret notes. If.you can't manage ei0rer F fingering, try this: Ptuct-ttre open flfth string in place of thesixth-string notes,

lhis requires you to finger only the four treble stings.3) All G-chords: The left-hand rlng finger fres tt".l*tt ,rirrg.4) Measures L7-18,25-26: Finger the'Dm-chords as marked (index, middle, and tifde). That allows much easier.access to the subsequent G#dim7_chords (measures 19 and2ll),5) Measures 2L tr.d29: Finger the Em-chords with the index finger on the four0r string, 2nd fret This sets up an' easy fingering for the subsequent hammer_<ry'slide.6) Measures 22-23 md30: The altemating bass disappears.5) Measures 31-32: The suggested c13 fingering is miaat on fourth string, thumb on sixttr, ring on second string,moving to the first string for the Gl3*.

rmportanfi The melody must stand out. No matter how interesting the accompaniment is, it is just that:accompanimenl And remember, don't play oo fast too soon. Srive for good t6ne, .r*n pilying, and solid rhythm.

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Beyond Pattern playingFreeing The Fingers

In this chapter, we will break away from the restrictions of the four basic patterns. The goal is to be able topluck any string with any finger at any given place in the measure; rhis wilt allow you ultimate melodic freedom inthe Travis Pick style' For the moment, the alternating-bass pattern prayeo by the Thumb will remain unaffected.

There are tlree ways of breaking away from paftern playing with the fingers: l) Rearranging finger notes;2) Deleting finger notes; or 3) Adding nnger notes.

Rearranging Finger NotesEach finger will continue rc pluck its delegated string: Index-third string, Middle-second s6ing, Ring-first.@emember the exception: when ttre Root note is, on th e fouith string ana the alternate bass note is on the third, theIndex finger plucks the second string and the Middre fingei pructs ne,6rrt. See page 7).

Ex' 13A shows a normal pinch pattern on a c-chord, using four strings. Exs. 13B-D also use the pinchpattern on a c-chord' but each has a different sequence of treble not"i. Noti.e in Ex. l3B you pluck with the Thumband Middle finger only' In Ex' 13c the treble nops ar-e plucked by the Ring and Middle fingers. on the first beat ofil,Tli:3:,,T":Tifrt

rndex finger pinch. (rhis tectrnique *.ur..a for the rrst rime in m*sure 4 of ,,Red, whire

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The rhythm of the original pinch pattern is intact in all four examples. The sequence of reble notes is allthat has changed. Again, make surJeach iinger plucks only its oesilnateo string.

After mastering tlese four exercises, practice rearranging the Right-hand picking sequences in the other threebasic patterns. start by using only one ctrord so you can concentrate on the picking hand.

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ff#",f*'ffi"J;l;il?li"f;,f:f ;f*X;,hi;;;;;l,iJnng".. ,irv"* nier'in-o w'r be aurJto pructFor most of this chapter, the fingers of the Right hand no longer are assigned to particular strings. Theypluck whichever string is required by the-melody.

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Note: As a general rule, the Right hand should pluck quick consecutive notes (eighth notes or faster) withdifferent fingers' This is true whether Jr not the "onroutiu" not", r" on the same string.

In Ex' l5A, pluck the open first string with the Middle and Index fingers in alternation. practice M-I-M_Idiligently' This finger alternation is the rechn-ique that wilr allow you to play fast melodies.

E x . l 5 A

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once Ex' l5A is comfortable, try the C-major scale in Ex. l5B. The left-hand fingering is as follows: Alllst-fret notes are fingered by the index; All 2nd-fret iot", ar" rrg"t aiy the middle; All 3rd-fret notes are fingered bythe ring.

Ex' l5c adds an alternating-bass patt€rn to the c-major scale from Ex. l5B. The left-hand ring finger mustfret the sixth string at the 3rd fret ihroughout Ex. 15c. Th; littte finger will fret all the other 3rd-fret nores.

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! ! ! ! ! ! ! ! I I ! ! ! ! ! ! ! ! IPractice Ex' 15c slowly, always alternating M-I-M-I. There is a lot to think about. It is worth taking theextra time initially to avoid developing bad habits that wiu be difficult to break later on. Ex. l5D uses the samescale as 15C, it simply goes in the opposite direction.

Remember: Keep the rhythm steady, and altemate the Right-hand fingers!

once you have mastered Exs. ISA-D, repeat them, alternating rndex-Middle 6I-M) instead of Middle-Index.Become comfortable with both Right-hand patterns, since one ruy ht a particular p"r*g" "r music better than theother one does.

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Ex'l7A combines T19t, melodic skips, and chord changes. This example demands extra concentration on theleft hand as well as the Right. The melody notes are not all chord members, requiring the left hand to makeadjustments throughout the exercise. I have supplied one Right-hand fingering possibiiity. fn"r" ur" others you mayfind with experimentation.

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Once all of these exercises are under control, play l5C through l7A consecutively without stopping.Maintain a steady tempo!

congratulations! You are well on your way to becoming a topnotch rravis picker!

Devil's DreamMany fiddle tunes have continuous-eighth-note melodies, making them great exercises for righrhand finger

altemation' The melodies usually are accompanied by a steady rhythm and simple harmony that can be played by theThumb as an alternating bass. "Devil's Dream" is one such fiddle iune.

Performance Notes:1) G6 tuning (D G d g b e', lowest pitch to highest): lower fifth and sixth strings one whole srep.2) Except for the first-beat chord of measures I and 5, the entire piece can be played I-M-I-M, which

I recommend. Alternate Right-hand fingerings are printed in measures 3, 4, and l l. pluckmeasures 9-10 as marked (use the idenrical frngerings for measures r3-r4).

3) If you play "Devil's Dream" with an M-I altemation, piuck the first-string notes of measures 3and 11 with the Rlng finger.

4) Left-Hand Fingerings :a) Fhger the initial G-chord as marked so that the subsequent F# melody note can be fingered

easily. If this G-chord fingering is too difficult, fret only the G nore (fint string, 3rdiret)on the fust beal of measrues I and 5.

b) A-minor-Play the 2nd fret of the third, fourth and frfrh srings with a l/2 barre by theleft-hand mlddle finger. This fingering requires the hrst knuckle of the middle fing.r tobend backward slightly. Be careful not to put too much pressure on the knuckle if it isn'taccustomed to it- The lf2barre is an easier frngering to play accurately than the altemative,a 4-finger chord. Both fingerings are diagrammed. Altemative A-minor measures (with3-finger Am-chords) are included on page 19. If they are easier for you ro play, substirutethem for measures 3 and ll, and 7 and 15, respectivcly.

5) D.C. al Coda is explained in Appendix B,page77.

Note: Practice "Devil's Dream" slowly to make sure the Right-hand fingering is correct. Both hands mustbe under control in order to play pieces like this cleanly and at full .plo. vtut" .* you. Right hand is relaxed and ingood position!

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The following arrangement of "Freight Train" is an improvisational section; the regular-melody section isincluded on page 33 of rhe Art of contemporary Travis Piciing. Most of the regular melody is found here inmeasures 17-24.

Performance Notes:

I ) This arrangement uses mostly the pinch pattem, with liberal additions of rearranged finger notesand left-hand articulation (hammer-ons, pull-offs, and slides). Each finger of the Right handshould pluck only its designated string throughout the arrangement.

2) To achieve a satisfactory sound on the consecutive pull-offs in measures 5-6, place the left-handlittle and index fingers on the string on the first beat of the measure.

3) Because of the hammer-ons in measures I I and 27, finger the F-chords with the thumb frettingthe sixth sring.

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Another common bass-pattern alteration is to pluck a lower-pitched string as the alternate bass note. Thepattern in Ex. 23A may feel odd at finE but the technique can be mastered quickly. Alremate the Right-hand fingen!

Chicago blues guitarist Big Bill Broonzy's recordings provide many excellent examples of another variation forthe Thumb: Playing the same bass note consecutively . Ex. 238 demonstrales the repeating-bass-note technique.

Ex . 23A E x . 2 3 B

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Plucking two bass strings simultaneously wittr the Thumb is a common technique among Merle Travis/ChetAtkins-style players. It is more of a "brush" strum than a sharp pluck. This style most often uses the brushtechnique on the second and fourth beas of t}re measure, in place of a single alternate bass note. English guitaristJohn Renbourn uses it on the first beat of measure I in "White House Blues" on page 27. Try noito alier yourright-hand position when arrempting this technique @x. 23C).

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Many blues fingerstylists combine the techniques diagrammed in Exs. 23F-C. By plucking two (or more)bass strings as a constant' repeating bass, a tremendous rhythmic drive can be generated. eppfv this iechniqu" to E*.23B by plucking the sixth and fifrh strings with the Thumb on each bear

Yet another Right-hand Thumb variation adds eighth notes to the bass pattern. Most oflen this technique isused to provide exEa "drive" loward a new chord or measure. Ex.23D diagrams ttris technique. At the end of measure1, fret the A# with the left-hand index finger.

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White House BluesTraditional

English fingerstyle virtuoso John Renbourn's rendition of "white House Blues" also uses several new thumbtechniques' During much of the introduction Renbourn omits the third-beat bass note, a technique used by manyalternating-bass players. The left-hand fingering forRenboum's "lick" in measures 13-16 is tricky. Isolate thesemeasures' practice them alone, then put them back into the piece. Keep the left wrist low [o get adequate arch in thefingers of the left hand. The Am9* fingering (measure 13) is a common one for Renbourn.

Renbourn's recorded version of "White House Blues" is found on his Lp Faro Annie Sepnse, MS-20g2).other Renboum recordings are available on windham Hill, Flying Fish, shanachie, and Kicking Mule Records.

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Am Dadd4 G Am2) The people they came running ,round to see what had been done.

C Daddg F/C C G6/BYou have shot the president down with your Ivor Johnson gun.

Am D Am9 D1F# Em AmCHORUS: Flard rimes, hard times, hard rimes.

INSTRUMENTAL A

Am Dadd4 G Am3) The train, oh, the train, running on down the line.

Dadd9 F/C C G6IBBlowing at every station, 'McKinley is a-dying.'

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Dadd4 G A m4) Now Roosevelt. he's in the White House. He's doing his best.

Dadd9 F/C C G6/BAnd McKinley's he's in the graveyard a-taking his rest.

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INSTRTJMENTAL B

AmYes, Roosevelt he's in the white House drinking out of a silver cup.

c Daddg F/c c d/BAnd McKinley's he's in the graveyard, and he'll never wake up.

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If you need to play a measure with an odd number of beats (3/4, 5/4, 7 /4, etc.)simply add an exrra bass noreto a hvo- or four-beat bass pattern. For example : ln 5/a time, simpiy add one extra bass note qa root or an alternatebass note) to a 4/4 measure @x. 33A). A measure in 7 /4 could"onri.t of three two-beat patlerns, plus one extra bassnote @x.33B).

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Eighth-Note MetersThe Travis Pick is often played in 6/8 or l2/8 time. These meters designare a triplet rhythm--that is, eachmain beat has three subclivisions. To this point in Solo Fingerpicking, most of the music ias used a straight-eighthrhythm--two subdivisions of each beat.

- Tomakesureyour rhy thm iscor rec t inEx.33C, countas teady l -z - i -4 - 5 - 6a long w i th thenotes .Pluck the bass notes on I and 4. In the first measure of 33C, pluck the treble notes on 1, 3, 4, and6, respectively.

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of the previously explained bass-pattern variations may be applied to pieces in 6/g and 12lg time. youwill find that many fiddle tune-type pieces use these triplet meters (;strawberry curl" on pageT3is a good example).

Note: l2/8 ume is often written in 4/4 ume with the notation "triplet rhythm" or "swing feel." It is thenup to tle player to interpret the music with a triplet rhythm.

Over The Waves

Performance Notes:

1) "Over The Waves" is in 3/4 time.2) The arrangement uses drop-D tuning (rower the sixth string one whole step to D).3) The bass paftern uses several variations, including repeated and omitted notes.4) Parallel scales using Right-hand pinches occur in measure 26.5) Pay attention to the left-hand fingering recommendatiors tfuoughout the piece.

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Note: Classically trained guitarists might pluck Ex. 37A differently (T-R-M-I, for instance), but for thescope of this book, pluck it as suggested, using the altemating bass.

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Ex' 37B demonstrates a technique found occasionally in Travis picking pieces: The Thumb plucks ahigher'pitched string than the preceding string plucked by a finger. Good Right-tra-nd position makes this techniquepossible. If you have difficulry, refer to Righr-Fland position, pale 5.

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"Etude" incorporates nearly every bass technique that has been covered in solo Style. pay close atgention tothe left'hand fingering' Good fingering in both tranos laton! win piactice) is the key to solid playing at this level.

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congratulations! You have reached a level of rravis Picking that the vast majority of guitarists never attain.39

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Ex. 4lC is a four-beat measure beginning with a four-note roll. Make sure you play this smoothly.

Both three- and four-note rolls may be played as descending arpeggios as well. These are not nearly ascommon in modem fingerstyle playing as ascending rolls. Ex.4lD shows a three-note descending roll on a G+hord.

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Congratulations! When these rolls are up to speed, they can be very effective additions to your Travis pickingtechnique.

Bill BaileyPerformance Notes:

1) Play this old srandard with a triplet feel.2) Measures 2,4, and 6: Lrft-hand fingering for the Gzusadd9: the index finger frets 0re second string, lst fret; the

middle frnger frets the third string, 2nd fret; and the ring finger frets the slxth string, 3rd fret. Visualizingthis frngering as similar in shape to a regular C-chord may help you leam it more easily.

3) Measure 3: If the stretch to the D# is too difficult, capo your guitar up to wh€re the fret spacing is smaller.4) Measures 15 and 16: Sustain the high A in measure 16 with the litrle finger while the index and middle fret the

fourth and fifth strings, respectively. Change back to the normal C fingering for measure 18.5) Measure 26: A three-note roll on an F-chord-6) Measure 29: The little finger must reach to the third fret of the slxth string on beat three.7) Measure 34: Altemate Right-hand fingers as you pluck the last notes of the measgre.

Dedicated To Mississippi John HurtOregon guitarist David Blakeley composed this piece in memory of fingerstyle legend Mississippi John Hurt

Performance Notes:

l) Four-note rolls occur in measure^s l, 5, 9, and 13. These four measures are exactly the same as Ex. 41C except forone note: the left-hand little finger frets the third string, 3rd fret (A#), during the roll. The A# adds a colorfuldissonance to the G-chord.

2) Measures 17-22: rhe hammer-ons occur on and off the beat.3) Measures 19-20: lower-pitched alternate bass notes.4) Measures 29-30: new bass pattern for Am-chord.

This will take some practice.

5) Mcasure 31 : t eft-hand fingering for the D-chord is a U2 barre. The litfle finger hammen on.

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Golden Valley

- "Golden Valley" uses a five-note roll in measure 16. Several other chords use four-note arpeggios. However,

for reasons of personal preference, none of the Right-hand rolls in "Golden valley" is spread over an entire beat

Performance Notes:

1) Measures I and 2 use a2B barre A chqd. Hold the 2B banewith the index finger until measure 3.2) In measures 3,5, L4,45, and 48, the left-hard index finger barres the third, fourtrr, and fifth strings. Bend

the index finger backward slightly at the first knuckle ro allow the open first string to vib,rate. iristechniqr.re is easier if you make sure the left index finger doesn't reach beyond the fifth string.

3) Be aware of the bass-pattern variations used in "Golden VAley."4) DS. aI Coda is explained in Appendix B,pzge77.

47

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Flier"Flier" uses four-note rolls throughout the second and third sections, beginning with measure 34. If you

haven't mastered fogr-note rolls, use four-note pinches or three-note rolls instead. If you substitute three-note rolls in"Flier," omit the second note of each four-note arpeggio. For example, the four-note roll in measule 35 Gage 54)'requires T-I-M-R on the fifth, fourth, third, and second strings, respectively. A three-note roll would be T-I-M on thefifth, thfud, and second strings, respectively.

Performance Notes:

l) I recomrne,nd that you fret $e sixth string with the left thumb for all F and 6th-fretBbchords. Barre chords alsowill work for the F and Bb chords, but not for Bb6.

2) Measures 25-27: Left-hand little finger holds the high G note (first string, 3rd fret).-3) Measures 28-30: L.efrhand thumb frets the sixth string for G6, FmajT,DlF*,and D?F#.4) Measurcs 34-59: Keep your left wrist low and your left thurnb in the middle of the back of the neck for all of the

chords in this section. That allows good extension and cunrature foryour left-hmd fingers. It also ensures that. any open strings in the middle of a fingering (measures 52-53, for example),re not muted accidentally.

5) Measnres 36-37,4041,4849, srd 55: Index finger frets the sixth string on Abmaj / and the zubsequentG-chord.

6) Measure 41: Slide with left-hand lndex finger to measure 42.7) Measures 4245: All of these chords use the identical fingering, simply one fret lower for each new chord. On the

first beat of measure 42, fret the fourth string wi0r the little finger shortly after the fu'st and second fingersfret thefus. This makes it easier to hit this furgering accurately after the jump ftom filst position

8) Measure 50: Use a 2/3 brrc.9) Measure 61: Hammer-on the second strhg even though you haven't plucked iL

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__ _," ,Aom:||"ft-hand darnping technique is o fret a vibrating stsing you dont plan m pluck. Forexampb, on thermal ' rn t'x. 59A' us€ the ring finger to fret the 3rd fret of the fifth string. That prevents the open fifth string fromringing into rhe Fmaj7.

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second possibility for measure 2 of Ex. 59A is to fret the fourth string with the ring finger, using theback of the fingernail or the flesh of the fingertip near the nail to damp the vibrating-fifth sring. "

. Also, try fretting both the fourth and- fifti. srings (3rd fret) with the ring finger. Fretting two strings with thetip of one finger is difficult at frst--you need to aim your fingenip halfway betl*eeo'tt " st ingJ. ttowever, tearningthis technique is worth the effort.

Take some time lo feel comforhble with these left-hand damping t€chniques. Visualizing your fingertips asbeing "wide" 9l

"fat" rnay help them iouch more than one string at a time, when necessary. RJmember to ftet thesixth string with the thumb on the Fmai7.

Good Time Blues'Good Time Blues" by David Blakeley opens with a quick left-hand movemenf After the opening tripl6t(pull-off and slide), the left hand must move quickly to a first-position Em-chord, with the middle oi ino"i nng",fretting the fouth string, 2nd frel This passage was introduced in Ex. 58c. play .Gmd Time Blues" with a tripletfeel.

Performance Notes:

l) Watch for omitled bass notes (measures 8, 16, 17, and 27), anticipated bass notes (measures 14 and 17) andbass scales (measure 15),

2) Measures 2, 4, 6, and 8: On the first bea! damp the sixth string with ttre left thumb,3) Measures 3, 5, 7' and 9: Jusl priot to beal one, damp the Iifth string sustaining ftom the previoqs measure.4) Measure 13: On rhe third b€ar, damp the fourttr scing with rlrc left_hand ind€x finger.5) Measure 16: Consider using push-offs instead of pull-offs. Stretch the second and fourth strings toward the

slxth string before releasing thern. ThaCs a push_ofi6) Measures 18 and 20: Keep your left wrist low for rhe Cm6.1) Measves 22-24.. Use a full barre in the left hand.

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- In gen€ral' right-hand damping is not as effective for playen who wear steel fingerpicks, because of thc ,,clict"caused by touching steel to steel. If you wear picks, experiment with the angr" ut *tt'i"h y; do;p th" strings withthe Right-hand, and also witl how had you grab the sfings when you damp them.

- A method of damping an individual bass sring is 6 touch ir wirh the side of the Right-hand rhumb as theTTb prp*:r to pluck the a jacenlhigr_rer-piehed Jtring. rn ri. er4rno!" th" op;nid;t il;rh trre sice ofthe Thumb as it prepares to pluck the fourth-string r. e suiht nJrenlngof your nlgrti-r,-Jp".ru-*,nr,, be rcquiredto do this. The fifth string should ouch tre siae oi the rnuirt uetween ure mumbnail and the tnuckle.

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Rest Stroke

- The 'rest stroke" is a right-hand technique from the world of classical guitar that is worth knowing. Thistechnique produces a different tone--some would say a "richer" tone--than the "Fee" stroke that mostiravis pickersuse, It also can be used for damping a string adjeent to the one being plucked.

To play a rest stoke, the plucking finger simply comes to rest on the adjacent lower-pitched stingimmediately after a pluck. For example: Pluck the open second string with the Middle fing"r. Th"'Middl" fing",then comes io rest on the third string.

The Thumb also can use the rest stroke, resting on an adjacent higher-pitched string. For exampte: pluckthe fifth string with the Thumb, which then comes to rest on the i.ourth string.

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Now 8o back to Ex. 628. hactice using a rest stroke with the Thumb when you pluck the initial bass note ofmeasure 2. This will produce a sfrong tone from the open fifth sting, trnd will mute th" r"""r, sfii"g irit is ringingaccidentally from measure l.

Also' mute the thre€ treble_$rings in Ex. 628 with your Right-hand frngers as you did before, but this timedo it as your Thumb plucks the fifth string with a rest stroki.. cooo nignt-hano-position is mancatory 1r"" rig. z onpage 5) for this technique to be successful.

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Twin Sisters"Twin sisters" is a fiddle tune from Gaither carlbn (flatpicking legend Doc watson,s father-in-law). It usesright-€nd left-hand damping extensively.. The piece is u."-g"o ltr rhe sryle of old-time barj;,; irxtru.ent *itnconsiderablv less susrain rhan a modem guiar. Because of tnaltact, ano ttri tiuerat ur" of o;;;i;g;in p e o c eD tuning, damping is very important to the overall sound of tf," pi""e.

I\{ake sure the melody always stands oul

Performance Notes:1 )2)? \

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Pay close atrerition to all recommended left_ and right-hand fingerings,B-e aware of darnping open strings with the t"rt n tia, ""p""iuui*h"i, changing fton one chord to the nexlMeasures l4: Notice the bass variation.Measure 6: Darn! the first string on rhe fust bear wirh the Righr-hand Middle fing€r.]\-,leasures I an9 ??: Altemate Righr-hand fir,g"r, on "-u""rrin" "igf,O *", "" O. same suing.M€asures 7, 10,23,25,39, '..d43: pluck with Ring fing"" rrfr".. "igg""tJ ffri" sets'p the Middle and- _ Index for subaequent plucks on other strings.Measure l0: Damp rhe fusr string on tlre_first beat with Right_hand Ring fing€r.ftleasure

1l: The Dm7 is fingered like I firsl-position D+hora in standid triung.Mearures 12, 14, 16, and 18: ott rlle firrt bear, damp the second and third sEings with the Right_hant- -

Middle and,Index fingers, respectively, as you pirrck the open iou.Or- "rirU ,"iO ,fr" n o_U.Measures 13' 15, 17, and 19: on the firsrbear' damp ** ""-ia, ruoa Jio:rrtr snrngs wim ae Right-hand- _ Ring, Middle, and lndex fingers, respecrively.Measure 26: On beat one, damp the first and fourh strings with the left-hand little and middle fingers,respertively, ard damp the sixrh wior left_hand thunb.Measure 29: On the three bsss st hgq finger whar looks like I standard_bning first_position D-chord.Measure 29: On t}le nrst beat louch rt e. "irti,_fnfr, "na fo*rf,,oirrgr-*l*,Ii" ffr,_U, Index, and Middle,respectively, but pluck only the six[r and frfth.

14) Measures 3744: pluck harrnonics harder than ftetted notes to ba.lmc€ their volune.l:J i'le'sue 40. i Thurnb prucks a higher-pirched sring than rhe rna.*-rGe" pru"t oat ,,o-ediately prea€ded iLI 6) Measures 45, 47, and 49: On rh; firsit u, a"-p iixo sring ;i h f-"iii;*d a,r.u.1?) Measures 45, and 5lr Am7** fingering is usea t aamp ttre-thira _j fo*,f, "oino",

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In Ex. 7lA, barre fte first and second strings with the index finger at the 7th fut. Tly not to release theproceding litde-finger notc (third string, th fret) too soon. Remember: Always alternat€ Right-hand frngers whenplucking corsecutive eightl not€s in a melody.

E x . 7 l A

- Left-hand damping often is very important in melodic phrases such as Exs. 70A-B and 7lA. In Ex, 70A, asyou fret the fhst melody note with the middle finger, decrease the angle of the finger to mute the fnst string. Thisprevents lhe subsequent hammercdbull-off ftom sounding the first string accidentaliy.

For the second hammer-orvpull-off combination in Ex. 70A, mute lhe first string with the left-hand indexfinger, also by redrrcing the angle of the finger so that it rests on the first string as it fres tf,e second.

_ You will find that many of the melodic not€s in the first section of "Stsawb€rfy Curl" need O be fretted with ared- uced angle of the left-hand fingers. In rapidly-moving pieces like "Srawberry Curl" this technique can mean thedifference between clean and muddy playing.

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Appendix BGlossaryAccompaniment Musical background provided for a melody.Anricipation: one note of a chord moving to its position in a new chord before the other no!e, move.Arpeggio: Notes of a cho(d played consecutively rarher rhan simultaneously.Bass: Lowest part of a musical composition.chord: Tlnee or more notes sounded logeth€r, Two notes together gen€rally are called qr interval.Coda: (It.) A concluding passage of a compositiotlD.C. al Co&: (Da Capo) (Jr.) Go back !o rhe beSinning of rhe piece. ptay until yop reach$ fien play lhe CODA-D.s. X, al coda: (Da Segno) (r) Go back to G sign- fr, , pioy o"tl yo,,,"".n$, ;"" ily ,h" 6i;b;.

-*""Drop D Tunilg: Stsnded tuning excepr that the 6fi srring (E) is lowered one whoTl" "t"p o fi.Duple Meter: A time signanne thar is evcnly divisible by two, such as 2/4 and 4/4.

aEishth:

[,,1 7 Note or rest that receives 12 beat in 2l4 or 4/4 rime. It receives 1/3 of a beat in l2l8 time, (12lg hasfo; beats per measure, each with three subdivisions.) Dotted eighrh 1fi'l.; receiues 314 of a beat in Zl4 or 414-

Fine: (It) The end of a piece. Y

First Position: The end of the guitar neck, fi6t to fourth frets.Free Stroke: The most common type of Right-hand picking in fingerstyle playing. The Right-hand finger does not

touch any other stdng during its follow-tluough after plucking a string,Frec (Noun) Metal strips across the fingerboard that mark positions for depressing strings. Also called fret wires.

(Verb) Pressing down the strings wirh the fingers of rhe left hand.Hammer-On: Sounding a note by hitting a strinS with a finger of the left hand, rather rhan plucking with the right.oHalf Note: l-

.r Nore or resr that receives two beats n 214 or 414 rime, Doued half 1fir.; receives rhree beats inI4/4, two beats in 1218-

I

Inversion: A chord that has a note other than its root note as its lowest sounding pitch. For example: D/F# and C/B.Measure: Space between two bar lines in witten music. The number of beats in a measure is easily determined by

looking at the upper numbe! of the time signature: 3/4 time has three beats per measure, for exampie.Melody: The rnain parr of a harmonized composirion, In this book it is the vocal part, or the part playecl on the fteble

strings of the guitar in instrumental pieces.Note: The sound of one plucked string, either opcn or fTetted.Open String: String that is not fretted.Passing Chord: A chord with the primary function of facilitating a smooth change between two other chords. For

example: G/B can be used as a passing chord between C and A minor.Pull-Off. Sounding a note by plucking a string with a finger of rhe left hand, rather rhan wirh rhe right hand.quarter:

| |} Not" o, rest that recieves one beat in 214 or 414 rime. Receives ZB of a beat n l2/g. Adotred auarter| - l ' r

( | (' ) receivcs one beat in l2l8, one and a half h 214 or 4/4.

Rhythm: The relular (or irregular!) pulsation of music.Root Note: Fundamental nole of a chord. It has the same nane as the chord.

) c tJfxteenfi :

, / Nolc lhat rcccives 1/4 bear in 214 or 414 Lime.

Slide: Sounding a note by sliding to a new position on the fretboard.Slur A note sounded by rhe left hand (Hammer-On, pull_Off, or Slide).Sus: Suspended. A chord comprised of the lst, 4rh, and 5rh notes of its scale instead of the normal ITreble: Upper part of a musical composition.Triplet: Group of *uee notes that takes the same amount of time as two similar notes usually take:

and 5th.

= I beatin 414 time.

Guitar Information

Standard Tuning

String Name Number

Right Hand

Finger Letter Name(Eng.) (Span.)

Thumb: 't p

Index: I iMiddlc: M mRing: R a

L€ft Hand

Finger Name

Thumb: TIndex: 1Middle: 2Ring: 3Little: 4

Treble: e'b

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JEoH of oldood

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Hedges, MichaelJansch, B€rt

John, EltonJohnson, MichaelJuddsKaruasKaukonen, Jorma

Konke, l,eo

Lang, Peter

l,ed ZeppelinLightroot, GordonLoggiru, KeruryMcEntire, RebaMcl-ean, Don

McTell, RalphPentangle

Peter, Paul & Mary

Procror, Chris

Prine, JohnQualey, DavidRaitl BonnieReed, Preston

Reid, Harvey

Renboum, John

Roth, JohrrRush, TomSimon, Paul

Simpsorq Martin

Taylor, James

Travis, Merle

Van Duser, Guy

Van Ronk, Dave

Vega, SuzarmeWatson, Doc

Layover, LenonoBlues Run Thc Garne, I HaveNo Time' It Don't Bother Me,Rurming From Home, SohoLove SongGive Me WingsSleeping HeartDust In The WindEmbryonic Journey, Genesis,Dealh Don't Have No Mercy,I'll Bc All Right, CandymanAir Proofing Two, Fisherman,Brain Of The Purple MormtairlBusred Bicycle, Jack Fig,l,ouise, Vaseline Machine GrmLycurgus, Halloween Blues,Round Wonn Reel, Wide OvalGoing To CalifomiaSit Down Young StnngerDarmy's SongHow BlueCastles In The Air, MagdelanLane, Three Flights UpStreets Of lrndonCruel Sister, Sweet Chil{Trees They Do Grow HighFor Baby (For Bobbie),Puff, Creat MandellaHuckleberry Hompipe,Over The Pass, Runoff,Winfield RagSailin'AroundNorwegian Fantasy, Opus 21Louise, Too l,ong At The FairBssta Past4 Digitali4Shenaniguts,Straight To The TopCanal Steet Strut, RestlessMan, Old Ponsmoudr TownLitde Sadie,Shake Mama ShakeCrazy Horsg Z The CatChild's SongApril Come She Will,Boxer, Kathy's SongLulu's Back In Town, RovingGambler, Yo-Yo BluesSomething In The WayShe MovesJelly Roll Blues, Key To TheHighway, There'll Bc SomeChanges MadeBlack Beauty, Miss BrownTo You, Cheek To CheekBlood-Red Moon, CocaineBlues, St. l,ouis TickleGypsyDeep River Blues,Doc's Cuitar, Weary Blues

79

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dlsnoraua8 os ursersnqluapue a8pal.rtoul rraql Surleqs ;oy 'aurze8eru sp;; 1e san8ealloJ rarurol 'olleH rurl pup pooH p-r14 o1 oB +€q aql Jo sdrl 'poga sqlo1 suo4nqr.quor dreurpro€4xa JoJ 'uasrapad €lar)'aJr^ dru dleDadsa 'dpurey dr.u og sao8 'asrnor;o 'nod

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nMark knows the territory. . . Best of all, the material is fun to play.'

Leo Ko t t ke"I would recommend this bookvery highly."

J o h n R e n b o u r n

"A master teacher and player."

G u i t o r P l o y e r M o g o z i n e

Whor curilomers ccy cbont fhe Art oJ Solo Ftngaptddngz

"I wanted to get sefious about solo guitar, and your bcnk was thc perfect answer. Thc Art of Solo

Fingerpicking seems like a grft."

T . S . , S o n J o s e , C A

"For the past 26 years I have played acoustic guitar music. Your books are the best Ihave yet encountered."

1 . E . , L o s A n g e l e s , C A

"The Art of Solo Fingerpicking has prwided me with a fitm bask for approach-ing Leo Kottke's arrangements,"

R . B . , L i v e r p o o l , E n g l o n d

Tunes include:"Strawberry Curl" "Twin Sisters""Golden Valley" "Freight Train""Devil's Dream" "Over The Waves""Fishin'Blues" "Good Time Blues""Bill Bailey" "White House Blues""Etude" "Red, White & Blue Rag""Flier" "Dedicated To Mississippi John Hurt"

Also By Mark Hanson. Triad Power for Guitar. Complete Book of Alternate Tunings. Alternate Tunings Picture Chords. Masters of Hawaiian Slack Key Guitar. Art of Contemporary Travis Picking. The Music ot Paul Simon. The Music of Leo Kottke- Leo Kottke Transcribed. Fingerstyle Noel. Flute & Guitar. Beginning Slide Guitar. l2-string Guitar Guide, and much more!

For More Information,Contact Your Local Retailer, or:

AccM

Accent On Music19363 Willamette Dr. #252West Linn, OR 97068 USA

Exclusively distributed byMusic Sales Corporation,New York, NY-

,I"BS Order No.: AC72596

!?r'r\ ufqlllt{-,l

i l ' t f , I rHl lA

fislrggs-I \ , f ! u } r

tsBN 0-9567-9905-H

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