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lntsoduction and Tuning l1:tl6lNote/Tablatu-re System [:19]1/8 Not€s [:32]1/2 Notes & Dotted Ha.lf Notes [:261Whole Note - Haxnmer O!|5 I:291Trle gide - Pdl Off i:291Open C Major Scale [.48]Open C Pattem/lst & 2nd Position [155]2nd & 3rd Position G Major Scale [:41]G Pattem T ne/2nd & 3rd ?o6ition [r:22]7th Position C lvfajor Sca]e I:3517th Position C Patt€m 11:04lst Position C Major Scale #1 [r32]lst Position C Maior Scale *2 [1:13]Crosspi*ing Exe.cise/Open C losition I.481Fast Crosspickint Exercise/Opm C Position [r28jFfi Position C l{ajor $ale [:321Melodic Exerdse/Key of C/5ft Position [:571Fast Melodic Exercise/Key of C/5ih Position {:3317$ Position C Major kale I:211Ouomaiic/Melodic Ex./Key ol C/7th Position [54]Iast Chromatic/M€lodic Ex€rcis€/Key of C/7th Position [:24J

I23l fie D Maior scale 136l mltr Pi&ing/iEo, D/}J PosiDon lasl E125-l Fast Picling/Key of D/2nd Posrbon [:28] @]E D Maiorscle;the ath Posrtion I:351 @@ Picki;g/ rey of D/4th & laposrionlstl ffiE Fast pickni/Kev of D/4tn & sth posirion t26l E-Ej D Mapr s."alelgih & l0rh Posirlon l:zol Ell0l PdinS/KeyofD/g$ & 10th Po6ibon l:521 trl@] Fast Picking/Key of D/gti & loth Posiuon irTl ElE] A Maprs.le/ ls!&2nd Position I:34l E]Bal Janming/KeyolAi lst&hd Posrbon f47j E]ll! Jarnmirg/Key of A/lst & 2nd Posibon p2l E]@ A Map&al;/2nd Position lj6l tr@ Jamftm8/Key ot A/2nd Po.. LonS A form l:5al ElW) Fasr Jammrng/ Key ol A/ 2nd Pos. Long A Form l.2J i @E] A Mator td;/4ti Position l:331

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E9l Jamming/Key oi A/4th &5th Poruon l:481 @l!q Fast Jammmt/Kev of A /4rI & 5th Position l:2ll _m@] E Major $ale/lst Po6rtion l3n @@ E Blues Scale l:3ll @@ Bluegrass Boogt€/Key of € / Ist Position 1.521 @L4-l Fdst Bluegnss Boogie/Key ot E/ls! PosrEon l:241 @l-451 E Major kaie/4th Position I:231 @

Bluegrass Boogie/Key of E/4th Position {:491Iast Bluegrass Boogi€/Key of E/4th Position li24lE Major kale/6th & 7th Position [:21]E Biues Scale/7il Position [r34Bluefdss Boogie/Key of E/7th Position [:421Fast BlueSrass Boogie/Key of E/7th Position [:25]Bi' Major Scale/lst Position [29]Lonesome Road Blues/Key ol B /lst Position [r 51]Fast Lonesome Rd. Blues/Key of$/1st Pos. [:23]Bi' Major $alel3rd Position [19]Lonesome Road Blues/Key of B!/3rd Pos. 1.481Fast Lonesorne Road Blues/Key of Brl3rd Pos. [r3]Bi Major Scale/5th Position {i35lLonesone Road Blues /Key of Br/6th Pos. l:431Iast Lonesome Road Blues/(ey of B./5th Pos. lr2lF Major kale/lst Position [:491Fisher's Hornpipe/ lst Position [1:11]Fast lisher's Hompipe/lst Position [:43]F Major Scale/sth Position [:341Fisher's Hornpipe/sth Posihon {1:281F Major kale/7th & 8th Position [:331Fisher's Hornpipe/7th & 8th Posiiion [1:40]Fast Fisher's Hompipe/7th & 8th Position l:461

About the AuthorIntroductionThe Key of G

The Open G Major Scale . . .Open G Pattem in the First and Second Position .Second and Third Position G Major Scales . . . . .G Pattem Tune in the Second and Third PositionSeventh Position G Major ScaleThe Seventh Position G Pattem .

The Key of CFirst Position C Maior Scale #1 .

Table of ContentsA

5

22

I1

. . . . . . 1 5_ _ _ - - - l o

. . , , , . | 7

. . . . . . 1 9

. . . . . . 1 9

. . . . . . 2 0

. . . . . . 2 1

. . . . . . 2 2

Firsr Position C Major Scale #2A Melodic Crosspicking Exercise for the Key of C in the First PositionFifth Position C Major Scale.A Melodic Crosspicking Exercise for the Key of C at the Fifth Position .The Seventh Position C Major ScaleA Chromatic/Melodic Exercise for the Key of C at the Seyenth Position .

The Key ofDThe D Major ScalePick ing in theKey of D-Second Posi t ion wi th Open Str ings . . . . . . . . . . .The D Major Scale in the Fourth Position . . . . .Picking in the Key of D-Fourth and Fifth PositionThe D Major Scale-Ninth and Tenth Position . .Picking in the Key of D-Ninth and Tenth Position

The Key of AThe A Major Scale-First and Second Position .Jamming in the Key of A-First and Second Position

25

27272929J l .

Jamming intheKey of A-Second Position Using the Long A Form .......The A Major Scale-Fourth PositionJamming in the Key of A-Fourth and Fifth Position .

The Key ofEE Maior Scale-Firsl Position

The A Major Scale---Secoird Position

The E Blues Scale. . . . . . 4 2

The Bluegrass Boogie-The Key of E in the First PositionThe E Major Scale-Fourth Position .The Bluegrass Boogie-The Key of E*The Fourth Position.E Major Scale-Sixth and Seventh Position . . .The E Blues Scale-Seventh PositionThe Bluegrass Boogie-In the Key of E-Seventh Position. . . . . . . . . . . . . . .

The Key of Bb

. . . . . . . . . 4 3

. . . . . . . . . 4 5

. . . . . . . . . 4 6

. . . . . . . . . 4 7' , . . , , . ' ' 4 8. . . . . . . . . 4 9

. . . . . . . . . 5 1

. . . . . . . . . 5 1J I

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" - lt n e l \ e v o T 6 D . . . . . .B! Major Scale-First Position

!?i.:q*.^Ro."d Blyes-Jhe.Kev of B b-First Position. .rtb Ntator Jcale-t ntro rosluonLonesome Road Blues-Key of B F*Third Position . . . .Bb Major Scale-Sixrh PosirionLonesome Road Blues-Key of BF-Sixth Position. . . . .

The Key of FThe F Major Scale-First PositionFisher's Hornpipe-First PositionThe F Major Scale-Fifth PositionFisher's Hornpipe-Fifth Position .F Major Scale-Seventh and Eighth Position . .Fisher's Hornpipe-Seventh and Eighth Position . . . . . . . .

Discography

About the AuthorSteve Kaufman is the only three-time winner of the prestigious National Flatpicking Championships held inWinfreld, Kansas. His music covers a broad range ofstyles including bluegrass favorites, popular swing standards,Irish ald Appalachian fiddle tunes, folk and country classics, and novelty tunes. Steve has been pleasing crowds fromCalifomia to Austria since 1976, performing a wide variety of acts from educational shows in elementary schoolsthrough colleges, to major bluegrass festivals aad concerts.

Steve keeps busy with his instructional books for Mel Bay Publications, audio and video instructional material forHomespun Tapes, his extensive recording career, his performance and workshop touring agenda, and his Maryvilleprivate student schedule.

Some ofSteve's instructional titles are Championship Flatpicking, The Complete Flatpicking Book, Flatpicking theGospels, Bluegrass Guitar Solos that Every Parking Lot Picker Should Know-Volwnes 1,2 and 3, lzaming toFlatpick, and Easy Gospel Guitar. More titles will be coming out soon.

InffoductionPlay in any key and in any position. Play what you are thinking, sometimes before you think about it. Leam to playwith ail fourfingers. By the timeyou finish thisbookyou will be able to do all ofthis and more. This bookis designedto familiarize and enlightenyou inthe art ofplayingin all ofthe keys. Bluegrass flatpickers rarely venture away fromhome without their capos and panic at the thought oflosing their "cheaters". This should not be the case.

Within the pages of this book we will take a look at 7 different keys. They are G, C, D, A, E, Bb and F. We will belearning amelody ortune for each ofthese keys, we willbe learning the melodies in 3 different positions up the neck,and we will be working on licks and runs. The chord structure for most ofthese tunes are standard chordprogressions.Therefore, I leave it up to you to think about the tunes and songs that these runs and licks can fit to.

By the time you finish this book you will see how to move your chord patterns, positions, runs and licks up or downthe fingerboard. There are afew things to pay attention to while you are studying these lessons. Concentrate on yourtone. You need to always think about this. The instrument you are playing does not have tone without your playingand influence. The tone is up to you.

Practice on increasing your volume. Make sure that your up swings are as loud as your down swings. You may notwant to have your down-up volume equal all of the time but you must be able to do this in order to have the choice.

Some ofthe passages in this book are difficult, but they are marked in one way or anolher. Some of the difficultieslie in the left hand fingerings and some ofthe trouble will be in the right hands down-up picking motion. I cannotbring up the right hand enough, because 99Vo of your tone, volume, clarity and articulation lies in the dght hand.Follow all ofthe markings. The left hand finger markings are circled, and the hammer-on, pull-off, and slide notesare marked. Also the right hand down-ups are marked with arrows.

All you will need to have in order to make it through this book is the time and stamina. Remember, you're not ina hurry, you are practicing a hobby and you should make it fun. Be careful and aware that you don't practice mistakes,because they won't go away ifyou do. Ifyou are careful, take yourtime, watch your practice habits and read all ofthe text that accompanies the notation, then you will succeed in understanding the reason for my writing this book-to make you a better picker, musician and guitarist. As I tell my students here in Maryville-"this is a piece of cakeand you've got it made."

Be sure to check out some of my otherMel Bay Publication titles. Use them as a cross reference. They are currently-The Complete Flatpicking Book and Championship Flatpickin|. There are more titles being added a]l ofthe time.

Ifyou have any questions or ifyou have any comments, feel free to write to me in care of Mel Bay Publications,Pacific. Missouri. or write to me at:

Steve Kaufman429 West BroadwayMaryville, TN 37801

or call me on my flatpicking hotline at 1-800-FLATPIK.

Understanding the Note lTablature SystemTablature: Tablature (for you note readers) is the "paint by number" method of learning a stringed instrument.

The numbers represent the frets.Ifyou see a "1" on a line you are being instructed to hold down the lst fret. A"0" (zero) represents an open stdng.

The lines represent the strings. You have 6 horizontal lines written directly under the staff lines. The top linerepresents the first string. The second line represents the second string and the last line, lowest in the tab systemrepresents the sixth string. When you see a number on a line, first understand that the number is telling you whichfret to hold down and then count down from top to bottom ofthe line that the number is written on. This will tellyou which string the fretted note is on.

The circled numbers represent the fretting fingers of the left hand.

The first set of notes that you see are called quarter notes (see ex. 1). After they are hit they are to last for a wholebeat each. They are called quarter notes because it takes 4 of these notes, or 4 quarters, to make a whole measurein 414 ttme.

The next set of notes/tab arc called eighth notes (see ex.2). They are equai to U2 ofa beat each. It takes 2 eighthnotes to equal the length of time that a quarter note would get, 8 eighth notes would fill up a whole measure in414 time, and 6 eighth notes would fill up a whole measure in 3/4 time. Eighth notes that are beamed together atthe top or bottom, are always hit down first and then up. The frrst eighth note beamed is always down the nextone is up. If you have a full measure of eighth notes, then the first one in the measure is hit down and the last oneis hit up. When you finish a measure like this-stop and check to see if you have hit the last note on an up swing.Ifyou didn't, then you've messed up somewhere and you need to go back and check where the problem is. The lastnote ofex. 2 is a quarter note and should be hit with a down swing.

Ex. 3 is an illustration of other types of timing. The first measure represents 2 half notes. They are called half notesbecause each one eats up half of a measure in 4/4 time. They last for 2 beats each. They are written in tablature asa note that is tied to another note. Only hit the first one and wait for another full beat before hitting the next one. Inthe next measure is a dotted half note which receives 3 beats. It is written in tablature as a number that is tied totwo more numbers. You only hit the first note/number and wait the beats out until you can hit anything again. Thismeasure is ending with a 1 beat rest. The next measure has a whole note in it. The note last for 4 beats and takesup the whole measure, hence the name whole note. In the tab system it is written as a number that is tied to threemore numbers. Only hit the first one and wait. As with any note, be sure to keep the pressure down on the fret aslong as possible. This will ensure that the note is lasting the proper amountof time and that you won't soundchoppy.

Ex. 4 is different types of rests. One beat, two beat, and four beat rests.

Hammer-ons, slides and pull-offsEx. 5 represents the eighth note hammer-ons (H.O.). Hit the first note and then propel your left hand's finger ontothe fret that is marked. You must attack the hammered note. You don't want to push your finger onto the string, youmust shoot is onto the string. The more attack you have the clearer the hammer-on will be.

The slides are written 2 different ways. Both slides written here represent the same function. Fret the 2nd fret andhit the note. Without releasing the fret and tension, slide your finger up to the 4th fret. Whenever you slide, eitherforward or backward, keep the string pressure down. Don't take your finger off the string or the note will go away.

Pull-offs are the opposite of the hammer-on. Hit the fretted note as you normally would, then dig your finger underthe string and pull it down and off. By digging your left hand's finger underthe stringyouwill inessencebe pluckingthe string with the left hand. This will produce rhe pull-offeffect and you wili get two notes heard with one note hit.

Hammer-ons, pull-offs and slides do not have to be labeled as such. There is only one way to do a slide, one wayto hammer-on and one way to pull-off. You may come across a place or two where this action was not marked. Youmust recognize the action and not look for the H.O., P.O. or Sl. markings.

Watch out for your down-ups as you perform these techniques. The explanations and diagrams are marked throughoutthebook, but be careful.Ifyou get your down-ups mixed up then apicking crashis inevitable. You mayj ust knockthe bark off the tree, but none the less it will cause a break in timins or stumble of some kind.

Understandins The Note /Tablature SvstemThese are quarter notesThey are one beat each andThey are struck with a down swing

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The Open G Major ScaleThe key ofG is one ofthe bluegrass flatpickers favorite keys. It is a key that is usually capo'd (transposed) inro otherkeys and still uses the same 3 or 4 chord positions. Therefore the key of G is one of the most familiar keys for aflatpicker. This is one of the reasons that the capo is often referred to as a "Cheater".

The G scale has one sharp. It is F$. Ifyou were to play Do, Re, Me, Fa, So, La, Te, Do starting on a low G (Do) andending on a higher G (Do), your "Te" or the 7th note of the scale would be an Ff,. You can do this systematicallyor by ear. Play around with it and see (hear) for yourself.

Watch out for your down-ups. This exercise can be played comfortably with all down swings but if you try to playit a little faster, you will crash. You must play eighth notes in a consistently down-up manner in order to gain speed.Also, be sure to use the correct fingerings as they are marked.

Open G Major Scale

Open G Pattern in First and Second PositionThis exercise is designed to guide you tbrough a series of what I refer too as, "2's and 4's". In the key ofG you willnote that first and second position runs consist mostly of2nd and 4th fretted notes on the third and fourth strings,2nd and 3rd fretted notes on the sixth, fifth, and first string, and lst and 3rd frets on the second stdng. With mostofthe notes being the 2nd fret, you will primarily be playing out ofthe second position. Use the open strings wheneverpossible, and use your first finger for the 2nd fret notes. There are times when this would not apply. For example,when you are playing C runs or D7 runs, when you are playing blues scale runs that use lst fret notes on the fifth,or A, string and the second, or B, string.

The first statements ofwarning are in watching yourright hands down-up's, particularly when you are moving fromone string to another string. You must keep the pick direction in mind even ifyou are playing eighth notes on twodifferent strings. Do not hit two consecutive eighth notes with the same pick direction.

The next point of attention is in the 3rd measure (not counting the pick-up notes at the very beginning). You are touse the second (B) string open as your vehicle to change from second position to first position. Watch out for yourfingerings. The 5th measure is a C run that leads into G. The middle ofthis measure has an open string that will allowyou to shift from first position into second position. The same principle holds true for the 6th measure. Notice thatthe last note of the 6th rneasure is the second string open. This is your vehicle to move or shift back from the istposition to the second position.

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You may have noticed the double vertical lines foilowed by the two dots at rhe very beginning of this exercise. Theyare called repeat signs. You will notice the same signs at the end of the Sth measure. You arl to plav from the vervbeginning to the end ofthe 8th measure where you will find dre repeat sign facing rhe opposite direition. This signsends you all the way back to the repeat sign (double lines anddots) atthe beginning ofthel st measure. Play throughthe piece to the end but skip over the Sth measure and go directly to the 9th measure. Notice the numbered brackJtsover the 8th and 9th measures. These are called the first and second endings. If you play through this piece as I havedirected then you will have played the first ending the first time through, repeated the exeriise, skipped the firstending and then played the second ending.

Be sure to learn your rhythm parts as well as your lead pa-rts. This is a problem that many of my students face. Theycan play the solo part fine but they iack the speed needed to play the rhythm parts. Give both th- lead and the rhyhmequal practice time.

Open G Patternl st and 2nd Position

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Second and Third Position G Maior ScalesThe second and third position G major scale will, by nature, consist of the same notes as the first G major scale rhatwe worked on earlier. The only difference is where we find the notes. The second position G maior sCale seems tobe the industr.ies standard major scale formation. Start with your second finger on ihe low G note, or the root of thescale, and run all the way up the scale and back down. Stretch your fingers to the edge of the fret zone, just abouttouching the next fret without going over the fret line. This will insure a clean, non-buzzing note. The iloser vouare to the next fret, the easier it is to hold the note down and it will rurely buzz if held this ivay.

Play this G scalepattem s€vera.l times. Now move up (sharp.; one fret and play the same scale. You are now playingthe Gf, major scale. It is also called an Ab major scale. Any scale that has no open strings can be moved around.Find out which note ofthe scale is the "root". Use the root as your marker telling you what key you are playing in.This same practice of moving scalepatterns around and up and down the fingerboard will be mentioned several moretimes in this book. Keep thinking about it and stretch.

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G Pattern Tune in the Second and Third PositionThis melody has the same chord structure as the first exercise. I would like to point out in advance that thisarrangemeni will test your finger stretching ability. My students frequently com€ to me saying thatthey can't makethe sftrches. Ar rhis point I hold up my hand to theirs and show them that their fingers are as long if not longer thanmine because I have fairly short fingers.

The first sets ofruns are played out of the "F' position at the 3rd fret which makes this a G chord. We are startingthis melody in thirdposition withthe first finger covering all ofthe 3rd fret notes for the first 6measures. At measure7 you are to shift into second position until the end of the arangement. Note the fingerings of measures 6 and 7. You1'7l huue a moment of an uncomfortable stretch, but this is the only way to shift between the third and secondposruon.

Look at the 3rd measure ofthis piece. Play this measure and into the nextmeasure for the first 5 notes. This is a greatG to C run. It is a G7 to C run bicause of the F natural note in the 3rd measure. The notes in this measure carry themelody into a C run. You should practice this run and add it to your grab bag ofG to C runs. Ifyou were to use thenumbers system, this would be a 1 chord to a 4 chord run.

Measure 7 is also a traveling run. It brings you from a D7 chord, or a 5 chord, to the G chord, or the 1 chord. Thisis also a valuable run to add to the list.

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Seventh Position G Major ScaleYou should get comfortable with this pattern because it will be one ofthe most used scale pattems when you areplaying up the neck. G in the seventh position is the same as playing in the closed D positionlThis G scale starts ona B note on the sixth string. Be sure 10_ use.yo!r first finger for all o1the 7th frets, se'cond finger will play all of theSth frets' the third finger plays all of the ninth frets andlhe fourth finger will play all of theienth frets. This scalecan be played two ways The first way.is to play it all the way througi, stopping on the last note. The second wayis ro play the first 4 measures completely then start the scale ail over igain, iumiig this scale into a loop, or endlesipattern. Be aware of the right hand movement. Hit all of the notes with an alteriating "down-up,' pattern.

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The Seventh Position G PatternThis melody, as with rhe seventh position G scale, starts with the first finger hitting the 7th fret, etc. You will noticethatthere is a slide inthe C measure. You willbe shifting positions at this point.In the middle ofthe second C measureyou will find another slide that brings you back to the seventh position. Use the fingerings that are marked.

There are several runs that can be taken out of this melody and stored in your grab bag of tricks.

The first place to look for runs are measures I and 2 and ending with the first note ofmeasure 3. This run can be used

as an ending for songs in the key of G or any other key by simply moving the run up or down the fingerboard.

The G7 measure is a run that leads you into C as will most G7 measures.

The first C measure is a run that should sound familiar.It is the LesterFlatt G run in C. Now that the Flatt run is foundin a closed position, it can be played for any chords run.

The Flau D run would by played 2 frets higher (sharp). The same run for a B b would be 1 fret lower (flat), makingit a B flat Flatt run.

A warning should be taken for the right hand in the C measures. Along with sliding the left hand in two places, there

are colesponding right hand movements. The picking direction is marked. Hit the first note of the slide with an up

swing. You are going to slide into the next note so you won'thave to hit it but you will have to hitthe note thatfollowsthe slide. You must pay attention to your right hand whenever you have eighth note slides. The direction you hit thefirst eighth note of a slide is the direction you will hit the next note. This will give you two up swings in a row asseen in the lst C measure, or two down swings in a row as seen in the 2nd C measure. Be careful

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o o o o o - o @ o

18

First Position C Major Scale #lThe first C majorscale is one ofthe easiest scales to play smoothly. The second C scale is a little trickier but the patternis easy to hear. There are no sharps or flats that come up in either scales, ana tire fingeri;;, -" ir"tty ,in,p1". Nohard stretches are required.

As with all passages thatconsist ofeighth notes-watch out for the righr hand. Try to overexaggerate the up swings.Most people^play the up swings a liitle softer than the downs. Thrs rs natural, but you must be aware of this andcompensate for the lower volume of the up swings.

The second scale is a repetitive pattern. Take a look at the scale and see ifyou can find the repeatrng pattem . . . .The pattern is like this: Play the first note of the scale, C, then the next two consecutive notes ofthe scale, D and E.Now go back to the first note, C. You will have play"a'c, n, p tit"n C. Now take the second noie of the scale, D,the nexttwo consecutive notes E and F, and go bickto theD.'You justplayed D, E, F, and o. rtris rs trre reginningofarol l ingpafternfromthelownorestothe-highones.rhenit 'sBr,b, i . . . iGi;F...c,.- i ,e,c*aroon.Try this rolling, chromatic pattern with any an-d all scales.

lst Position C Major Scale #1

lst Position C Maior Scale #2

Q . e

79

A Melodic And Cross PickinsExercise For Open C Positioi

C G 7 . f f ir T1-Tr--

rn o o @ @ o|.J_J_J r.#-r

H-F]-H rn /n rn /;\\l/ \,1,,' \:/ \L/

C G : C F

c

c

'- c- c- F- c c7 c

G7

a ) l

e)

a)

----+---d 1 - . - - 1 - . J J J J

2T

Fifth Position C Major ScaleThis C major scale has some very nice strctch work. The first note (C) is the root of the scale and should be startedwith the little finger. Keep this in mind when you decide to play this scale pattem for a different key. playing thisscale one fret lower would result in a B major scale and one fret higher would be a C sharp scale. Stari playing theseciosed position pattems in different places. This is one ofthe keys to leaming how to improvise. Playingiongs andpatterns that you already know at different places up or down the neck. The G, A, B, C or 5, 7, 9, t0 paisage in thefirst measure is the largest sffetch in the scale. Play it over and over again.

5th Position C Maior Scale

aJ 1,

@ o o @ o o @ o o o @ @ o o @ o

o o o o o o @ o o @ o o @ o o o

22

A Melodic ExerciseFor the Key of C at the Fifth Position

This patterns starts off with the same scale pattem that we discussed earlier. It was iliustrated in the frst positionC scale #2. Staft with the C note, play the next two consecutive notes and then back to the first note. This makes afour note, chromatic pattern. You don't want to play this pattern too iong because it will make you sound a lot likea scale player. This is something you will want to avoid, particularly while improvising. Grab sections of scalepatterns and weave them together as it was done in this exercise.

The fingerings are not ma-rked. One ofthe reasons for this is because you are to stay in fifth position through the entirepiece. Srad rhis exercise with the first finger. The second finger will fret all ofthe 6th frets, the third finger will fretall of the 7th frets and the little finger will fret all of the 8th frets. Stay in this position. It will train youl fingers tobe organized and eventually, they will know automatically which fret to go to on their own.

Measure 9 is played by placing three fingers down as it is shown in the diagram. By fretting the three strings youwill be able to overlap orsustain the notes through the entire measure. This will give you a smoother sound. The chordyou will be holding is another form ofan F chord. Move it flat one fret and you will have an E chord. Sharp one fretand you will have an F{ chord. Piay the roll like in measure nine and you will have a basic one measure run or rollfor whatever chord you happen to be holding at the time.

Measure 10 is played with the same principal applied. Use the first finger to hold down all ofthe 5th fret notes. Thisroll is the same for your right hand as measure 9 is. It doesn't matter what chord you are holding, this roll works forall of them. Keep this in mind when you are looking for something to play in an elusive Eb measure or even a Dmeasure in the key of G. D runs were hard for me to come up with and there were, and still are, many times whenI would resort to holding a chord and crosspicking a pattern.

23

a)

G7C G 7

A Melodic Exercise forThe Key of C at The 5th Position

FW;rri_rr] r

o

o o o

C C G7

aJ |-J-J-J

24

The Seventh Position C Major ScaleThis is themostcommon majorscale pattern. We used this pattern earlierforthe secondposition G scale. Like before,start the pattern with the second finger. This starting note (C) is the root ofthe scale. Be sure to move this scale upand down the fingerboard. We will surely be using it later. Watch out for all of the down-ups.

The 7th Position C Maior Scale

o

o o @ @ @ @ o @ o o @ @ o @ @

A ChromaticAylelodic Exercisetror the Key of C at the Seventh Position

This exercise stays very close to the seventh position major scale pattern. It is also filled with the chromatic scalepattern discussed earlier.

Measure 10 has a slide from the 1Oth fret to the 12th fret. Use your little finger for this maneuver. This should bethe on.ly time that you leave the seventh position during this exercise.

You should try to play this piece at the frrst position. Ifyou don't know how ro read notes at this point, it would bea great time io start. The best way I can think ofa newcomer note reader starting off is to cross reference the notesand tablature from the firstposition anangements inthisbook. This willteachyou where to locate the notes accordingto the numbers. After doing this for a little while, you will be able tojust lay the notes and get away from the numbers.It takes time and practice. so get on it.

Be s-ure to stay in seventh position during this exercise. The first finger frets the 7th fret, the second finger frets the8th fret, the third finger frets the 9th frer and the fourth finger frets the lOth fret. stav with ir!

| | | r f

a ) +

o @ o o @ o o @ rn o @ @ @ o 6\ /;\

G7G7

A Chromatic / Melodic ExerciseFor The Key of C at The 7th Position

c G7

_ J - J

i 1 - l I ' L

- l l t l l

sl.

@ @

a ) + - - J . - 4

i

26

The D Major ScaleThe Dmajor scale in.an open position will usually me.an playing in the second position. The F and c notes are sharp.other than the occasional accidental sharps, there will bi no 1si fr"t not"s. This will make youi home uase positionat the- 2nd fret. Use your first frnger for a.ll of the 2nd fret nores. The second finger wili trei atl o] Ge s.o r.et notes.The third finger will fret all of the 4th fret notes and rhe fourth finger will rr"iu or tt . jtn lr"t no,"..As always, watch out for the down-ups.and keep a steady tempo. It doesn't matter ifyou are playrng these scalesand exercises slowlY, but it does matter ifyou play them iteady or not. A wise ota musiJ sayiirji.,tryou uln't gottimjng, you ain't gor nothing." play these patterns steadily.

D Maior Scale

Picking in the Key of DSecond Position with Open Strings

This exercise has many standardruns. that emulate many standard situations. The anangement is comprlsed mostlyof 2's and 4's. There is an occasio-na-l-"3" written in to give a bluesy effect. All of the ..3,s,, written are connectedto either a hammer-on or a pull-off. watch out for you. iight hand. iou will either ha,r" t*o ool,,n-, ,n u row or twoups in a row. Don't rush the hammers or pull-offs.

Measures 5 and 7 have some crosspicking drills in them.

Measures 3, 10' 11 and 16 are D to D runs for different situations. Leam them separately so that you can use themwhenever you need them in different songs.

The passage from measure 13 through_-I7 is a stock run that brings you from a two measure D run into A and backto D' This run can be used in the middle of a song in the key of b,-and also ur trt. .nang r- iire iey or o.As always work hard on the down-up's, the speed and the timing.

a)

a-4 r - ^

Y f :----r L r ] - -

e)______--

t i i = = - - - - - = t J -

Picking in The Key of D2nd position with open strings

D

o i - - + - - + J J - - I J J+ + l + + - 4 .

' i " T

| t 1 , A t At t i i r .o. | \Y I

28

The D Major Scale in the Fourth PositionThis D major scale actually shifts between the fourth position and the fifth position. It starrs like rhe G scale and rheC scale did, but itquickly shifts from first finger fretting the4th fret to rhe first finger fretting the 5th fret. This occursin the 2nd measure of the scale then returns to fourth position in the 3rd measure- This is an important maneuver toplay and finger smoothly.

D Major Scale4th position

a)

o o (4J o t o @ o

U/n @ /;\ ri\ @ (.r) /'n r^\:,,

Picking in the Key of DFourth and Fifth Position

This melody starts in the frfth position. It stays in fifth position as long as the runs are on the first, second, and thirdstrings. You will notice that when the runs get to the fourth string that the fifthposition changes ro the fourth posirion(at the end of the 4th measure).

Measures 3 and 4 can be used as a closed position run. It is a run that takes you from D7 to G. In numbers it wouldbe a 17 chord to a 4 chord in the key ofD. Ifyou were in the key ofG it would be a 57 run that takes you to a i chord.This is a highly movable run. Move it up and down the fingerboard.

Shift position in measure 6 and stay in the fifth position until the eighth measure. Briefly shift to fourth position forfour notes and then back to the fifth position.

Measure 7 has apull-offfrom the F natural (6) to an E (5). They are eighth notes and in order to play them smoothly,andnotcmsh shortly after the pull-off, you must watch out forthe down-ups with yourright hand. Play two up swingsin a row.

Measure 10 has a 16th note pull-offto an eighth note. Follow the arrows and you'll get through this one smoothly.

Measure 1 t has a hammer-on that is nestled in a patch of eighth notes. You will have to watch out for the two upswings in a row on this passage. Follow the hammer-on with a pull-off at the end of the measure. Do not rush anyof the eighth note hammers or pull-offs.

Measure 13 through the end of the exercise is a stock run that takes you from a D to an A7 back to a D. It is usedas an ending run and because it is in a closed position (no open strings) it can be used forjust about any key. Moveit up and down the frngerboard.

Have fun and work it hard- .)t)

Pickins in The Kev of D4th and -5th position

D'7

e) o o o o o o o @

G

A _ .qh/

o o o @ o o o @o o @ o o @ o o@ o o o o o o o

c'l ,r. ,i ^j , l ^ | D D t 1

u p. o. o o o @ o o @ I A Av ^ t v l

D

D7

DA7

t t t t u . o . t . t , P . o .

ao o o o @ @ o @

- C -

/;\ 6\ /n /;\ n / /i\ 6\v \1,, v s/ \L,/ \y \y g @

30

The D Major ScaleNinth and Tenth Position

Here is another closed position scale that can be moved as high (sharp) as you can reach up the fingerboard, or allthe way down to the 2nd fret which would make this an Ff, major scale.

The fingerings are marked for you. All you have to do is leam the scale with the correct fingering and the correctright hand down-up motion.

In measure 2 you will need to shift from the ninth position into the tenthposition. There are some real good stretchesto be found between your first to your third lo your fourth finger. This stretching continues into the 3rd measure ofthe scale pattern.

You will findthe position change backinto ninthposition in the end ofthe 3rd measure. You mustusethe littlefingerfor this movement, then run the scale all the way down to the sixth string to finish it out.

You should try to turn this scale into a continuous pattem. This is accomplished by skipping the last D note (10) ofthe scale and start back to the beginning, without skipping a beat or taking a breath. You should see how many ofthese scales and melodies can be tumed into looD Datterns.

D Major Scale9th and 10th position

,KI''----!a)

@an r'i\@ rn rn @ rn rn @ \, o ri)

o @ o @ o o @ oo @ o o @ @ o @(^

31

Picking in the Key of DNinth and Tenth Position

This.melody-will definitely prove a challeng-e^to all that play it. I personally like the runs and parterns that come upin this one. Your first finger starts this tune offand goes diir..rly into u t ott not" ttu-."i-on uJin! your tnuo ringer.Swing up on the D note ( l0) on the.first string. You may want io stan this run with your first fing-er tretting rhe firstand second string because that is the way it will end up for the fi.rt 2 rn.urur., uny*"y.You have a pull-oft 2 ups in a row, that leads you into a position change in the end of measure 2. Be careful here,because you do not want to use your first hnger for the sicond and thiid string ro's tirai srrow up in this measure.Measure 3 is the measure that gets you back to the tenth position D area. Use the fingers as they are marked.Measure 4 is a D7 run. D7 runs will bring you into a G chord or run 95Zo of the time.

Measure 5 starts off in tenth position. It is.a 3 measure generic G run that will bring you back to a D chord or run,or keep you in a G pattern. Experiment with this run and try to find different pu"Jri*tr. - - -

In measure 7 you will find a real good little finger tester. It is a trill or a hammer-on/pull-off l6th note triplet. watchou!.fol^th" q9Y -3rks and your fingerings. Hit the 12th fret on a down swing, hammer-on you. tittt" ting".. rn"npull offyour little finger and hit rhe"i:It,10JD) on an up swing. All four of tfr'ese not""*n'on1y1urc up one beat,so work on your grace and speed of this little man.uuei.

Measure 9ias a hammer-on, pull-off but they are only regular ejghth notes. Follow the arrow marks. Use your firstfinger on the 10's and your second finger on the t t'i foi rhis mlasure and the first halfof measure 10.Measure 10 is just like measure 2, so you ought to have it down by the time you get to here.Measure 11 has the same position change as measure 3.

Measure 13 through 17 is a D to 47 to.D run that can be.placed into many situations. stretch out your flngers forthis run. The fingers are marked for this operarion. you j;st have to ger ii smooth.

Learning some ofthe runs in this section, along with the othe.r secrions will get you on the road to improvising andplaying in any key' work hard at this arrangement. Pick it aparr. Dissect lt utia 16" iryou "un n!ur" out *ny ""rtoinpassages were played a cenain way. Stringing together specific runs and pattems.

Picking in The Key of D9th and 1Oth positionD

D D7G

D

" o o,, H.o I

@ o o o o @ o o o @0 1 {

o o o o o o, , t ' . 1

U

o @ o o o

32

Picking in The Key of D9th and loth position

rn rn @ o o @ o o @ @o o o o o o o o

DD D

o@oo o

D - t t - - ? r ? ? ? ? ? t r . t , , - L L )

D i ' J o . t . o ., t 1 + tD o o o o D

@ @ o o o o oo o o @ o @ o o

33

The A Major ScaleFirst and Second Position

The fingerings for this A major scale are not marked. The reason for this is that you can play this pattem startingeither with your second finger oryour first finger. Ifyou start out with your s""ond frng"t 1'frst position) on the 2ndfret, then you will use your first finger for all ofthe ist frets, second finger on the 2nd fiet and so on. Ifyou start thispattern using your first finger for the 2nd fret notes (second position) then you will be shifting between first andsecondposition very oflen in this pattern. The lastfournotes ofthe first measure would have tobJhit in first positionand the last 4 notes of measure 3 and the 1st note of measure 4 will also be played in first position.

P.ractice this exercise both ways. Thiswill keep you from getting stuck, twisted or offbalance while you are flyingthrough this scale. When you are playing a fast tune at fulispeed you are actually playing too fast to think about it.For this reason you should always be prepared for any and all siiuatrons.

A Major Scalelst and 2nd position

o I J -

a) E T I J J J --+ --+ --+= i C

I

. A

Jamming in the Key of AFirst and Second Position

This little arrangement of chords that I have picked out for the key of A is a standard progression of chords. Thatis to say that this same.chordal format will come up time and time again. Remember, if any portion of this pattemcomes up in the real world (like at ajam session), say the first 6 measures that lead into E7, be aware ofit. You maybe standing there playing the chords in ajam session and think to yourself'T've heard that chord structure before. . . now where was it . . . where was it?" You must remember everything that you have leamed for the future. Drilland test yourself constantiy.

Measure 1 is a tricky litlle measure to play smoothly. Don'lrush the hammer-ons and pull-offs. They must get a fullbeat for each hammer-on orpull-off. Be sure that you play two downs in a row and then two ups. Follow the arrows.

Start measure i by hammering onto your second finger. Use your first finger on the third string-

Measure 2: Stay in first position for the first 7 notes and then switch into second posidon. Use the fingerings thatare marked.

Measure 3 is a run that can be used as an ending run for an A chord. Play this run in second position.

Measure 4, 5, and 6 are marked enough for you to piay through them fairly easily.

Measure 7 is a bluesy sounding pattem. We are establishing a drone of the frst stdng. This is a practice that can beused in many appiications. Experiment with it and see where it can take you.

Measure 8 and the first halfofmeasure 9 are played in first position. Watch out for your down-ups. Shift from firstto second position where it is marked. You should try to use an open string to shift position whenever possible.

Stay in second position through measures 10, 1 1, l2 and half of 13. Switch back to first position in the middle ofmeasure 13 in order to grab the l st fret notes that come up in measure 14. Use the open B stdng at the end of measure14 to switch back to second position and ride it out till the end.

It sounds like a lot of switching and jumping but don't worry, it's played so fast that you'll never notice it.

Jamming in The Key of A2nd position with open strings

{ tt. o. ! tp'-o. I { s. o. o o @ o o o

w

u l@ @ o o o o

t-

o o @ (i\ (vLtlrJ

@ @ o

o o @

o o o o

36

The A Major ScaleSecond Position

This A major scale is a true second position A major scale. It is different from the previous A major scale becauseit has no open strings. It is still played in the same general area.

Srart this scale off with your little finger. The little finger hits the low A note on the sixth string. This is the root ofthe scale. If you were to move 1 fiet sharp and play the same scale then you would have an A sharp major scale. Movethis pattern around the fingerboard so you can get used to the pattern for different keys'

Stay in second position. Stretch your little finger out there. In measures 1 and 3 you have to really stretch out with

the little finger in order to get to the Gf,'s (6's) on the fourth string.

Srretch it out there.

A Major Scale2nd position

@ oo r t J J J J -+

C

-t-l

-+J J ,J

@ @

Jamming in the Key of ASecond Position

Using the Long A FormThe long A form is one that I refer to as the,'oldTimey A" form. Ir is played by barring the first four strings ofthe2nd fret with the firsr finger and using rhe little fingeito frer the firstirrine 5rL fret.

The long A chord

This is an "old Timey, Long A Chord". watch how the different generations hold the A major chord and find outwhere they leamed this chord form.

IT"ttlt"l ry:l::"_t: 9-1" ol,Tv favodte janrning positio:rs to play out of. If you move up the fingerboard threerrels rugner. to llrth posrtlon' thrs exercise would turn into'Tamming in the Key ofC". Runihis profression up theneck to different places for different keys.

Measure.2 has a fairly difficult pull-offin it. You will be pulling off from your little finger to your nng lnger. Besure to hit two up swings in a row at this point. watch thi fingJrings and ihe right hanimovements.Measures 7, 8, and 14 are E7 measures. In these measures we will find ourselves in first position because of the notesthat are found in an E chord. Namely. the Gi on the third string, 1st fret. we -" g"tiltig i. rirripisition ty meansofa slide using the first finger. Watch out fbr the down_ups hiie.

Switch from lst to 2nd position during measure 9. practice this until it smooths out.

Measures 1 1 and 12 are great closed posi,tion D runs that can easily be movedto another chord spot. Two frets highergets you an E run, etc. I first heard Doc watson use this roll patte;n in a tu ne called. June Apple. The only differencewas that he played it_out of an F position at the 3rd_fret using the firsr three strings. r tranif,o."j iito u n, c "na *A chord position so I could use it anywhere. Do I have yoriconfused yet? -

Measure 14 is an E7 measure, as we mentioned earlier, you will need to switch positions by using the slide. Finishthe run up in the next A measure and switch back to second position when yoo git pur."J #" fiisiiuarter note. Usethe fingerings that are marked.

Have fun with this one and when you get it down smoothly, go on to the next position.

38

Jamming in the Key of A2nd position

using the long A form

a)-

P. O.' l , 1 , l , t t t t

O O

' ) - sl.

,, 1 t ,1, @ @ o o

E7

o o o o @ o o o

E'7

a)o o @ @J sride J t

_ - + to o o o @ o o

---+1j

a^s.,

39

The A Major ScaleFourth Position

This scale pattem is like the G major scale pattem that we went over earlier. There is some good fingering work tobe found here. Get used to leaming the patterns in different places. One of the besr practice habits I cin think of forthis pattem is to concentrate on the down-up right handpattern. Playing very, very loud and slowly. Eventually workthe speed up to'a blur. Speed always comes slowly but you do always get faster. You can only get fast ifyourrightand left hand do exactly as they are supposed to do. They will only do what they are supposed to do if they are trainldwell from the beginning. Take your time. You will get to your final goal eventually.

A MajorScale4th position

o @ o o @ o o @ o @ @ @ @ o o @

2+

aJ --J

o o @ o @ o o @_ - . . r r J J

o o @ o o @ @ o.-+e

o

i

Jammine in the Kev of AFourth and Fifth Position

We are going to shift many times belween fourth and fifth position. Sra-rt off with a slide from anywhere to the 6thfret with your second finger. Leave the second finger down for the remainder ofthe i st measure. 'ihis will give youa smooth, sustaining tone.

Attheendofthe 2ndmeasureyou will find yourselfswitching to the fourth position and staying there until the secondbeat of measure 4.

Measure 5 has a excellent stretch to the 9th fret. Use the little finger and stay in fifth position.

Measure 7 is a neat little run that fits anywhere up or down the neck. It is tricky to get into. The third finger hits thelast note before measure 7 and then the first finger hits the beginning ofmeasure 7. This is a difficult transition butwhen you get it down, you will find many places to drop this little run into.

Measures 9, 10, 11 and 12 are rolling patterns. In measures 9 and 10 you will need to hold down the second, third,and fourth strings with the fingerings as they are marked. The little finger frets the 7th fret and should stay downuntil you have to hit the second string at the beginning of the 10th measure.

Measures 11 and 12 are similar in that they are rolling patterns and you must hold several stririgs down while youplay through these measures. Use rhe fingerings that are marked.

Measure 13 has a pull-off from the Sth fret (iittle finger) to the 7th fret (ring finger). Be sure to hit two up-strokesrn a row.

Measure 14 has a position change. This one is a little trickier than some ofthe others we have had up until now. Takeyour time at this spot and play siowly until it is smooth. This run sets up the end run so tlat you can finish in fourthposition.

Jamming in The Key of A4th and 5th position

E J

o o @ @ o @ @ oanl4/ L-l+J

o @ @ @ @ @ o o

D

ao o o o @ o o o t, 1lo. t

E7

o o o o @ o o o+ -

@ @ o @ o o @C

@

41

E7

d l

s r i d e @ O O O @ O

ry_J

o o o o @ o @ o+ i

@ o @ o @ o o @

o Jo o o o @ o o o o \J_,f

E Major Scalerhe kev.orE is a run kev to explore. y* r#ifS" Hg:ilig*,." "r,he rirst position E chord. rhis arrowsyou to play a run while you are droning on the open strings making your piece sound more irll. you can also playIl!.lo.ns1

d"tt"n{tng runs. By this I mean that ybu can stirt a run Jn a high rtring una lo ui irr" way to your lowestpolnt, rn essenca, bottoming out. The key of E will also unlock ro." Jf th" ai"r, tfi"iri""a llosed before youregarding improvising in otherkeys. Thereason forthis is that E is one ofyourprimary chora io.-s tt utcao ue mou.aup the fingerboard to allow you to play in differenr positions.

Theopen Emajor scale is played in first position. Use the filst finger for the 1st fret, second finger hits rhe 2nd fret,third finger hits the 3rd fret and the fourth finger will fret the 4rh fr; y-;; ;;;;; ffi;;ht, Fo"rmat or one ringerper fret' This is the only way thatyou pickers tfiat talkabout aweaklittre fing", *iil "uo d*elop iour finger strength.

I added-the E.bluesscale at this poin, Jh.?,H.FrJ,yf$".$,t#?" or""s scales round ersewhere in rhisbook' You willstill be using the open strings which co;ld 6e conf_using wh"r.o;;;;;;;it JitJseo position utu"sscales As we discussed earlier. the.blues siale uses a flatted 3rd, 5th a-nd 7th note.ill oltl"r" nitlt"o not". ,,'uy notbe present all ofthe time. You may. hear a blues run with only the flatted 7th notes orthe flat 5ths and flat 7ths. whenyou get used to the sound, you will get used to the run.

one thing-that.I.sfess with my students when they play the blues ̂scale is to experiment. practice playing shortsections ofthe blues scale in a repeating pattern thit iorms a loop of some t<ino. ine nrsinve noies or*re scae isafitting example. Play the first five notes, th€n reverse the pattern playing it backwarJs. slari uluin. you -" no*playing this pattern in a loop. There is no ending, so.once y;u start youcan not stop. I tell my students to play until

;ro."?eone throws something atyou. Thenyou know it's time to put thi guitardown foralittle #nite o, ptay somettrlng

when playing this open E blues scal-e. ke-ep in mind that you.are still in lst position. use the first finger on the 1stfret and the third finger on the 3rd fret, erc. As arways, warch out tor rne adwn-ups. - -- *- *"'

E Major Scalelst position

a

a) J r J r-f,:-?f----J c , + "

I

The Bluesrass BoosieThe Key of E in First Position

Iknow that you will all appreciate this pattem melody. Everybody likes the boogies.I watch the faces of my students(of all ages) when I play a melody that follows this pattern. They can't wait to get the tune smooth so that they canplay it with or for somebody. This is a standard i6 bar, or measure, pattern. It can be broken down into 8 measuresand then a variation on the 8 measures would follow. You can chop this pattern up in many ways. Mixing andmatching the interchangeable runs to suit your needs. It's great fun and I'm sure you will enjoy it.

Measure I has a slide that starts from the 2nd fret. I usually do not mark the starting point ofthe slides. This willdepend on your speed and since everyone is different, I just mark the ending point.

Measure 2 has a pull-off triplet in it. When you pull off a note you reach under the string with the fingertip of theleft hand and pull the string/note down and off. In a way you are plucking the string with your left hand. In a pull-off triplet you need to pull off from the first note to the next note and then to the third note, all without loosingmomentum. Try to dig under the string with your left hand's finger.

Measure 3 is a tricky place to getthrough. Follow thearrows for your right hand. You will see an eighth note hammer-on causing two up swings in a row. Next is a 16th note pull-off to an up swing eighth note. Watch out here.

Measure 5 starts off with two bends. Use three fingers to bend these notes. First finger on the 1st fret, second fingeron the 2nd frer, and the third finger on the 3rd fret. Push all three fingers up, bending the string so that you arejustaboutto thethird string. You mustusethree fingers to bend these notes becauseofthe amount oftension on the stringsof an acoustic guitar. Watch out for the hammer-on that follows.

Measure 7 also has a bend. Because it is on the sixth string, which is generally more elastic than the other strings,it may not be necessary to use three fingers of the left hand for this effect. See how much tension there is and actaccordingly.

Measures 8, 9, 10 and halfofmeasure 1 1 are played in the second position. There is nothing particularly tricky aboutthese measures other than learning them and getting them smoothed out. Watch the fingerings that are marked forvou and as alwavs the down-uDs

43

Bluegrass BoogieKey of E - lsr posirion

l 1 ^ 1 ' , - + J t

oooooo oooooooo

44

The E Major ScaleFourth Position

There is not to much to say about this pattern that hasn't been discussed earlier. Use the little frnger to start this scale.Take note that this is the root ofthe chord and because ofthis it can be moved anvwhere up or down the fingerboard.This allows you to play in another key.

Be sure to concentrate on your tone, timing and technique.

E Major Scale4th Position

ffi E

a)

a) + T = J = r t '

45

t'r_rl T\ -l

r ne sluegrass lJoogleThe Key of E

Fourth PositionI pointed out earlier that this melody isa standard 16 measure pattern that can be broken down into a confrgurationof8 measures. This is the reason why this pieceis only 8 meaiures long, or short, with a iepeaiiearn this versionand then using only the first 8 measures of the first and the third versi6n, string ihem;;":til;.

-

start offin the first measure as we started the E major scale. The little finger leads, pointing out the root and the keyofthis melody. The 1st measure is also a take-offon the LesterFlatt G ru'n. Now you haveit is run to. arry t<ey. useiri

Measure 3 has a great stretch and a bluesy run in it. You are in a cross between third and fourth position. I use thiscrosspicking.pattern in many different pieces. It can and is used as a stand alone run. Leam it a;d put it into yourgrab bag of licks and runs. Be sure to use the frngerings that arc painstakingrv rnu.x"Jf- voui"onu"ni"o"".Measure 4 has a slide from the third position backinto the fourth or home baseposition. watch out for the flngeringsand have fun with it. Don't forget about the th.ree rests or the repeat sign.

Bluegrass BoogieThe Key of E4th Position

O O O O : O z., I ,1, t"' { ,1, I

46

E, Major ScaleSixth and Seventh Position

This E major scale pattern is a fun one to play. It is very active, meaning you will be switching from sixth position

to seventh"position Lack to sixth position and even dipping down into fifth position for one note' Use the fingeringsas they are marked and you shouldn't have too much trouble.

Remember to play this scale in different positions. This is to get you used to the tone of the instrument in various

locations on the fingerboard.

E Major Scale6th Position and 7th Position

-

d -

o @ o o @ o o @ o o @ o o o @ L:,,

a J - - = . . -

o o o o @ o o @- r . ' i Z l t e

o o @ o o @ @ o@

47

The E Blues ScaleSeventh Position

We played around with the E blues s_cale using the open strings. we are also playing the E blues scale in a closedposition elsewhere in this manual. we are dealing with this sJde no* becuusi oi itiemployment in this exercise.

Measure 1 will start with the frrst finger on the B note ofthe sixth string. This is not the root but it is the bottom mostnote.of this scale in the seventh position. Play this exercise in true seventh position. watch out for the fingerings andthe down-ups.

E Blues Scale7th Position

a) t 1 'o @ o €) D @ @ o @ @ @ o @ o @ @

ta -t

-----_.-------€--

L

48

The Bluegrass BoogieIn the Key of E, Seventh Position

This boogie in the seventh position starts with passage that is somewhat Normanesque. That isto say that NormanBlake hai been known to play this style of opening run. For more information on Norman Blake style of picking,

along with Dan Crary, Doi Watson, Tony Rice, and the Steve Kaufman approach, see my Complete Flatpicking

Book at your local Mel Bay Publications dealer.

The first2 measures are rnirrored by the 3rd and 4th measures.It is writtenthis way to set up some kind ofconsistencyin the piece. Having congruity helps the melody lines come together in a uniform fashion, hopefully with a little bit

of..soiial significant" value. Your arrangements should always say something. Whenyou p]ay the lst measure, use

the fingers a"s they are marked. Starting;ith the hammer-on from the second to the third finger on a down swing.

Fake rlie up swing in order to keep youi timing and hit the next note with a down swing. Up swing on the 4th eighth

note, hammer-orito the 9th fret, iake the do*n swing and come up on the first string. Then down on the 8th fret,

hammering on to the 9th fret all in the first measure. So it's 2 down swings in a row then 2 up swings, then 2 downs.

It is a sync-"opated section that you must play smoothly in order to accomplish the sound and effect that is needed.

Anothei reaion for this is that it comes up again two seconds away from the 1st measure.

Measure 3 starts with your first finger barring the first and second strings. Play the same 2 downs,2 ups and2 downs

as you mastered earlier.

Measure 5 is the next place ofconcern. You have an enormous stretch from the 7th fret to the i2th fret. You can do

it. My fingers are small and ifI can do it then so can you.

MeasureT is ablues run that can be used to end any passage in the key ofE. Remember to move these closedposition(no open strings) runs around the fingerboard.

Measure 9 starts with ablues variation of the first section. I mentioned earlierthat the affangement was an 8 measureprogression and anything else is a variation of the theme. Let's vary a little.

Measure 1 I has a slide with the second finger into the 9th fret. Start about 4 frets before. Itreally doesn't matter whereyou start the slide, as long as you have the time to get to the 9th fret. Use the fingerings that are marked for an easiergo of it.

Measure l5 to 16 is a tag (ending) run for a blues situation. Try to substitute this run for the end of the first variation

and see how it sounds.

Have fun with the key of E and let's go on to the dreaded key of Bf.

49

Bluegrass Boogier n I n e K e y o I t

7th Position

@ @ @, t , i t 1 , 1 , , , , l , t t , l ,

a) /'n @ o @ o o o o o

o o @ o @

t tt l

A7 ,

o o o o o @ o /n /i\ /i

eYnd \:''' \I/ u)

-rJ

o o o o o o

50

The Kev of B bI staved away from the key ofBb for many years. It wasn't until I had been playing for about 6 years that I realized

tltut'Sb i. iust another kev. I came to underitand that the notes won't hurt me ifI hit them and that I could play in

the kev oiBb iust as ifir were any other key. Norman Blake taughr me a song called "Kennedy's March" in the key

of B b and I found that rhere were as many open strings in B b as there were in most of the other more popular keys.

I found that all I had to do was rry and that's all I'm asking you fellow pickers to do. So here we go.

B b Major ScaleFirst Position

Since we are in the first position, I found no need to mark the fingerings. The hardest part about this Bb major scale

is that you need to stretch your little finger out really far for the Eb (4's on the second string) notes. You should play

these 4 measures over and over again until you get all your fingers stretched out.

I want to point out that it is not that your fingers won't stretch very far, it's the little bit of webbing between your

fingers thit holds you back. Here is one stretching idea that I teach to my students. Make a fist with the right hand,

opJn the fingers ofyour left hand and push your left hand fingers into the wrist area of the right hand. Push in hard

and teave your left hand's fingers pushed all the way into the right hand wrist. Now leave your left hand with the

pressure against your right wrist and tum your right wrist clockwise and then counter clockwise. You should feel

ihe webbing between the fingers of your left hand burning a little bit. That's how you can tell ifyou are doing this

stretch correctly.

Bb Major Scalelst Position

ffi:.

o 1 , + ' - - - a \ r t J } J J i

Lonesome Road BluesThe Key of B hFirst Position

Measure 1 srafls wirh a slide. The beginning point ofthe slide is not marked. I usually start this kind ofslide from

the 2nd fret but there is not much room to slide from.

Measure 2 is the beginning ofa 7 measure run. Each measure discussed here is, and can be used as a stand alone run.

Play each measure-into thi first note of the following measure. Measure 2 to the first note of measure 3 is a Bb to

B I iun. Measure 4 to the first note of measure 5 is a B b to Eb run, and so on' Some ofthese runs may be reminiscentof other runs that we have already covered. Music is very repetitive. This is the only way we can recognize the

melodies that we like, by hearing them from the past and associating them with something else that we have heard.

Here is something else that I want you to keep in mind. This tune should be played so that you can get through it

in about 25 seconds. ON YOUR MARK, GET SET, GO!

Lonesome Road BluesKey of Bblst Position

Bbb oEbED

d - l ? t l

52

B h Major ScaleThird Position

This scale pattern is one that I find myself falling into quite often. It is very useful because ofit's relationship to theotherchordzones up or downthe neck. An example wouldbe;you're playingin Bb, firstposition and you eventuallywant to get up to Bb at the 6th fret or sixth position. You don't want to jump right up to the 6th fret because ofanample amount of time, say 4 more measures before you need to get to the 6th fret. Well, you use the third positionarea as ajumper to get to the sixth position. You can play everything at the third position that you can at the firstposition with the exception ofthe Bb note at the 6th fret, first string. The runs, even note for note would still sounddifferent atthe 2 positions. The tonewouldchange and the depth ofthe notes would also be affected. Personalopinionwould dictate which was right or not.

This third position Bb major scale is very reminiscent ofthe long A (Old Timer A chord discussed earlier) chord.You should definitely get used to moving this one around the fingerboard. It will be invaluable for playing countryand blues licks. It does real good for bluegrass runs, too.

Bb Major Scale3rd Position

a - C

o o o @ o o o o o o o @ o @ @ o

{o-s---r-

o @ o o o o @ o_ - . . . i j l t

o @ o o @ o o @i

r

53

Lonesome Road BluesKey of Bb

Third PositionYou shouldbe able to use this scale pattem for some blues type licks. This version of "Lonesome Road Blues" startsoff with a blues run. You need to set your first finger on the first string, 3rd fret as your reference point. The littlefinger ofthe left hand wiil be doing most of the work for the first 2measures and much ofthe rest ofthis arransement.You should feel a little buming on the back ofyour left hand. Particularly the tendons and muscles connecled withthe little finger.

In measure I watch out for the 2 pull-offs. The both are struck with up swings. Remember the ruling on eighth notehammer-ons, pull-offs, and slides. Whatever direction the first note ii hit (d6wn or up) is the same direction that thenext note is hit. Be careful during the 1st and 2nd measures because if this rule is noi followed then you will be outor ume.

Measure 6 has a pull-off in it. Many of my students want to slide this run instead ofpulling the little finger off. I amconvinced that the sound of the pull-offis a sfionger, more definite sounding exchange and I would recommend it.It will aiso increase the strength and power ofyour little finger.

Remember, 2 up swings in a row.

Measure 9 also has a pull-off with two up swings using the little finger.

Measure 14 has a position change- The only area of the arrangement that leaves the third position and goes downto the second position. You will be sliding backwards with your first finger from the 3rd fret to the 2nd fr;t. Be surethe first note of the slide is an up swing. Altow the arrows and the fingerings that have been marked.

Measure 15 is the route that will take you back to the third position. Use the time that the quarter note gives you andjump back to third position after you hit it. Ride out the third position till the end.

Key of Bb3rd Position

D Or . )

t n P . o . , r r A I A PY I I \ y I � _ '

). t I tP.o. I , ' t

c =.- ---

,l, tP.o. I

BbBb

Lonesome Road Blues

EbEDBb

54

E'BbE '

. , \ - " ' J l J r ' -{ 1 t

a)

F

B b Major ScaleSixth Position

This scale will prove to be a good stretcher for you. You won't find yourselfplaying bluegrass licks in the bass arealike this scale shows very ofien, but when you do you need to be ready. The frngerings arc marked for you' Thesekind of patterns are found mostly in songs when you are playing on the first, second, and third strings. You can stayin position and reach a lot of noies with this scale. Use the two handed stretching exercise that we discussed earlier,beiore attempting some ofthese stretches. You should feel this sca.le in the back ofyour right hand. Try ro leave thenotes down (fretied) as long as possible in order to achieve the full benefit from the stretches.

Bb Maior Scale

E DBbED

BbBb

6th Position

#a) ,1, I sioe f

@ O O o| - - +

o o oJ

a) i +

o o @ o @ @ @ o@ rn ri\ /i\ @ @ ri) o

@ o o @ @ o o o+

@ @ o @ @ o @ o+

55

Lonesome Road BluesKey of Bb

Sixth PositionGet ready for a finger burner. This exercise is full of the stretches that we have already discussed. It is also loadedwith crosspicking.

Measure I and measure 2 are right out of the scale pattem. Use the frngerings that a.re marked and look out for thedown-ups.

Measure 3 begins a Bt7 run that is 2 measures long. It will melodically guide you into the Eb section. Use the littlefinger for the 9rh fret notes as they arise.

Measure 4_is the beginning ofthe crosspicking pattem. Set your second, third, and first finger down on the third,second and-first string, respectively, and leave them in place for the 5th and 6th measures.lour little frnger wilisecure the 8th in both of these measures.

Measures 7 and 8 can act as a standalone_ Bf run, or arun for any chord ifyou move it around the fingerboard. Watchout for theend of the run, it stops abruptly and has a one beat rest after it. It should sound like a staJcato note. Chopit off and don't let it ring.

Measures 9 and 10 are back to the crosspicking rolls. This time the lirtle finger will have to fret the 8th fret and the9th fret, playing the roll pattern between rhem.

Measure 11 is a blues run that can be used in any key with the first finger starting the run on the root. you have apull-off to a hammer-on with a "duck" note in between them. A "duck'; note is so--mething you usually don't want.It's wh*r you go for a note and you don't time your fingersjust right and the sound justloes ..duck',. The ..x" onth-e third string represents a ghost.note that is played only to keep the timing and the iun g:oing. you hear this rypeof run in the Nashville chicken-pickin' solos. Be sure to watch but for the-two up swing-s ani then the two downswlngs ln a row.

Measure 12 has the two up swings in a row. You also have a quarter note at the end of the measure. Change to thefifth position after you hit this note. You will stay in the fifth position for measures 13 and 14. Be careful.

Measure l5 starts offin-the fifth position and uses the slide to take you backhome to sixthposition. This is the LesterFiatt Bb run. Start it off with your little finger. Many of my students want to srarr this run with the ring f-rnger andthen stretch the first finger over to the next note. This is not advised. It will make you release the first note (8th freoto soon andyou will sound choppy. Anyway, you probably bought this book so tlat you could get used to utilizingand manipulating all ofyour fingers on the right hand, including your little finger. Watch out for the slide with twoup swlngs ln a row.

Have fun with this one and take your time.

You have made it a long way in this book by now- Hopefully you haven't been skipping around looking for the easyparts. Jumping from one section to another will just slow down your learning pioc6ss. I have strategically laiipatterns used most by the advanced bluegrass/country musician. So ifyou have skippedto the endto see ilyoutouldplay it, then go back to where you are supposed to be.

OK, now that we've shaken a few pickers off. let's go on with the key ofF.

56

Lonesome Road BluesKey of Bb

6th oosition

' o o @ o o o @ o @ o@ o

Bb7E D

o o o o o @ o o

tp.o. t .Ltr.e. 1 1no.

57

The F Major ScaleFirst Position

This scale should prove to be pretty easy for you to play. The only hard place is the stretch in the 3rd measure. Useyour little finger to reach the 5th fret. Your third finger will hit the 3rd fret and your first finger is going to hit allof the lst fret notes.

Play this scale in a repeating pattern. When you finish the scale you are to rest for two beats. At this point you shouldsta.rt over again until the scale is lightning fast (lightning fast is a moderate bluegrass tempo). Be iware of the righthand down-up swings and concentrate on the tone of the guitar.

Work on accenting certain notes. For example, the first beat of the measure could be hit stronser that the rest ofthenotes in the measure. You can try other accent points. Try hitting the firrst and the third beat itronger than the rest.Try hitting the second and fourth beat sfonger. Try hitting the third beat louder than the rest ofthe notes. Differentaccent configurations suggest that the same song, or scale, could sound different. Practice this accent technique.

F major Scale1st position

t--H

o +4j

j t J r-------

a . e--J=; E: - + + += = 1

58

F'isher's Hornpipe"Fisher's Hornpipe" is one of my all time favorite tunes to play. I like tunes that have many chord changes and alively tempo. This tune fits both categories. "Fisher's Hornpipe" was originally written in the key of F, thoughthough the yea$ it has been transposed to the key of D. I supposed it would be easier on the fiddle in the ofD butby this point it shouldn't matter to you guitadsts.

Measure 1 starts with the first finger fretting the first two strings as ifit was an F chord. The second finger is on tlrethird string, 2nd fret. You hold your first finger on the first and second strings through the measure, using the thirdfinger ro frer the Bt (3rd freo on the third string and the little finger frets the D on the second string.

Measures 2 and 3 arejust about as tricky as measure 1. Looking under the Bb chord symbol, you will see the same4 note pattem as you found in the 1st measure. The same fingering will apply. Take it slow.

Measure 4 shouldn't pose any problems.

Measures 5 and 6 are identical to measures 1 and 2. Be sure to use the same fingerings that you used earlier.

Measures 7 and 8 are generic runs that take you from an F to C and back to F. Take note that the F to C measure isin fact one measure long, so it is a quick turn around run. This tune is a standard fiddle tune. Fiddle tunes usuallyhave at least two pa-rts, the "A" part and the "8" part. In the case of "Fisher's Hornpipe", the first part or "A" partis played 2 times and then the "B," part is played twice. Be sure to use the repeats as they are marked.

Measure 9 is the beginning of the "B" part. This measure should pose to be no problem at all.

Measure 10 has a fast stretch with the third to the fourth fingers. Use the fingeringsthat are marked and you shouldn'thowe anr r r rn , rh lc

Measure 11 ends with a triplet hammer-on pull-off. It is a very fast maneuver. Almost as fast as an Irish fiddler'strill. Hammer-on from the lst fret to the 3rd fret using the first to the third fingers then as soon as you have frettedthe 3rd frer you will perform a pull-off back to your first finger. All of this takes place within one beat. The threenotes must be spaced evenly in order for this to be a true triplet. Practice this "speed trick" slowly until it smoothsout.

Measure 14 is the beginning of a 3 measure first ending. At the end of measure 16 you will encounter the repeat signthat will take you back to the beginning ofthe "8" part. Be sure to skip these measures the second time though thispart.

Measure 16 is easiest played by holding an F chord and using the right hand to do all of the work. Watch out for thedown-ups.

Measure 17 is the start of a 3 measure tag run for the key of F. I like this one because it starts out high and goes allthe way to the bottom. You will hear this kind of run throughout other aspects ofyour playing. Leam to recognizeruns from the past so that you can make your flatpicking future seem effortless.

59

Fisher's HornpipeI st Position

Bb

a) I

o o @ o (D @ (D OI_J-.J_J u+Jo @ o o o @ o o

60

r

a) o o o @ o o

-------l!

Fisher's Hornpipe

l l .u / L 5 t F

F_ l l t .

c Hg:P.o .

G7 C7

G7 C7f

d ----- I I - - _ o J _

e) - - J J

6 l

The F Major ScaleFifth Position

By now you have played this type of scale pattem many times. You have leamed to piay this scale in many differentkeys and it should be becoming second nature to play it. This is the point that I have been trying to make throughoutthis book. Music is repetitious. Learning a tune or melody in the frfth position, with no open srrings, is no differentthal playing it in the seventh position. One of the minor differences would be in the strerches. Leam to play theseclosed position melodies in every possible key that they can be played. Use the fingerings that arc marked.

F Major Scale5th Position

e J l

@ o o @ o @ o o @ o @ @ @ o @ @

a J - - . . . -

o o o @ o o @ o' C t a i C '

O @ O o @ @ O @@

oz

Fisher's HornpipeFifth Position

Your first finger starts this fiddle tune on the 5th fret. The entire first section is in true fifth position. I only point thisour because you will be using the one finger per fret method. Ifyou fret the 5th fret, use the first finger, 6th fret-second finger, 7th fret-third finger and the 8th fret will be the fourth finger. There are a few measures in which itis easier to hold down all ofthe notes for a part of the measure. An example of this would be the fust half of measure5 and 6.

Use the first and second endings for both the "A" and "8" parts. The endings for the "8" pa.rt a.re 2 measures longso be sure to skip the frrst ending, measures 16 and 17 in the "B" part, and go on to the 2nd ending.

Ifyou are a note reader, then you will be able to play this variation in the first posilion and you should definitely takeadvantage ofthis version. There are not any places to particularly pay attentionto. Watch out forthe down-up swings.When you are concentrating on a tune as much as you will have to concentrate on this one, it is easy to let the righthand picking directions go by the wayside. Practice thesepieces only the right way from the beginning and they willonly have to speed up. You won't have to worIy about the other techniques that are naturally and easiiy forgotten.

After you play throughthis version you may get a better understanding why some fiddle tunes are changed from theiroriginai keys and moved into keys that are somewhat easier. If you master the closed position picking tech-niques,you won't need to move or transpose a tune to a simpler position or key. Do good with this version and when yousmooth it out, you will be ready to move on to the next one. Have fun.

Fisher's Hornpipe5th Dosition

c7

E 'BbB'

BbFE 'FG7

C7G7

l.--J a--

ffi:t--f-f-- ------tl -ffi -l t t t r

--.]_+---tJ-+

t+.J-J r t r .+J

a) L---4

63

Fisher's Hornpipe

c

F Major ScaleSeventh and Eiehth Position

This scale will start with the second finger on the Sth fler, fifth string. Use the litrle finger for all ofthe lOth fret forthe first measure.

Measure 2 has a position change- The first finger holds all of the 8rh frets now and does sr until you reach the 3rdmeasure The first note ofthe 3rd measure w.ill be in eighth position and the second note is where you will changeto the seventh position. Your little finger will be the one thit starts this position change.

Stay in seventh position until the end. If you werc to leave the lasr measure out of this scale and immediately startover, you could turn this scale into a loop pattern. Ifyou would Iike to try to play this pattern in a loop form, b! sureto watch out for all of the down-ups and keep the right hand partern going wnite you .to.t ou"..

c'7 C7

D7G7 Bb

a

-_

64

F major Scale

7th position

U o o o o o o o @o o o o o o @ oo @ o o @ o o @

t - i t - t l-- | I '

Fisher's HornpipeSeventh and Eighth Position

This version of "Fisher's Hornpipe" starts with the little finger on the 10th fret, third string. In fact almost half ofthe notes played in this "A" part variation to Fisher's are fretted with the little finger. This will give you a great littlefinger workout. When you play in the key ofF in this area you should take note that ifyou arc picking on the third,fourth, fifth, and sixth strings, you will more than likely be playing in the seventh position. It is not until you playon the second string that you may need to shift up to eighth positron.

For all you note readers, try playing this arrangement in the first and fifth position. For all you tab readers, start tolearn your notes. It doesn't take long and you will be able to read any music for any instrument.

The first part of the "A" part shouldn't be to hard to leam. It is written so that it is rcpetitious and therefore easierto memorize. Be sure to use the repeat signs before going on to the "8" pafi.

Measure 9 is the beginning ofthe "8" part. You will be in eighth position at this point. Note that we arc playing onthe second, third, and fourth string. Hold your first, second and third finger on the second, third and fourth strings.This is a C chord formation. Notice that we are playing notes for a C chord measure. The fingerings are marked foryour ease in p lay ing th is sect ion.

Measure 1 1 is just about like measure 9. Use the same fingers and the same "hold down the chord" theory.

Measure 10 is where you will shift back into seventh position. The little finger will fret the first 1oth fret that appea-rsin this measure. Stay in seventh position until the end of the first ending.

Measure 16 is the last measure ofthe first ending. Here is where you will prepare to get back into the eighth positionand start the "B" part over again. Use the third finger for the 10th fret notes and the second finger for the 9th fretnote. You are now ready to run through the second part again.

Skip over rhe first ending, measures 14, 15, and 16, and go on to the second ending.

Measure 19 has one note in it and three beats worth ofrests. After resting for three beats, go on back to the beginningand run through this again. PIay until someone throws something at you. Then you know it is time to put it down-at least until they leave the room. Good luck and have fun!

Fisher's Hornpipe7th and 8th position

F

BbFEDC7

a

o @ o o o @ @ o

o o o o @ @ o o O @ @ O @ O A

66

c7G7D7150

f '

r

D7| 2 .F C7

- l+J

*--E-1_-F-_-t * l#(FFr-' o o o @

To The Lady -'one o1 the .o", -r""u,r, ,HffiIffifls,r.irrutus of hot fddte tukes, bduads, 3 ot isinatinslrunenlals, 6 classic lunes. Lots of fun and great listening. Available o,' CD or.long-playing cassetteBreaking Out - Now on CD solo steve KauJinan pickin'. l4;hiskey Befor" Br"ok1^i. iu*"o|",, Rtdge, The I ^Iiss you ltdltz,Tenptqlion RaE, Faded Love, Turkey In The s*a* antl nore. sg mian]r- cD or 3g minute cassetteStar of the CounQr Down - a IIOT duo recording vtith 1985 Nationat Flatpicking Champ Robin Kessinger. The Il ortd Is,l'aiting For Ihe Sunrise, Cattle In The Cane, Calgary polka ontl more. Ca$ette onlyFrost On The Window - a rcmixed an.! rernaslered {4-minule cdssette from lg85 with tuo nerl cuts- Six tunea vtere recordedas lhe.v v'ere played in the National Flalpicking Championships. Greensleeves, Neu, Camptovn Races, Red tfing, AlabomaJubilee, Crrey Eagle, Black ancl l4'hite Rdg plus g other seleclions Cassette only

For Your Instructional NeedsThe Championship Flatpicking Guitar Book with a l-hour cassette. 6l pages of advanced.ftnger-bumers.Some ofthe I6 tunes ore: Beaunont Rag. DiI pickte Rag, ctrey Eagre, saly Goodin ant) Fareu,e|-Blies.Tlre-Compfete Flatpicking Guitar Book with a l-hour cassette. This hook isfor the beginner and is designed to take yoaall lhe tay tht'ottgh the intermediate level to the edge of the advaaced plane. l0l pages of tips and tinte-saving inlormation.There are seclions on bass walks making four own arringements to insintmentals ini voials, chord wicings, backup rh)thrnond brings you to the styles of Doc l,fatson, Nonnan Blake,- Dan Cra4,, Tony Rice an.l Steve Kqufinan.Flatpicking The Gospels Book with a l-hour cassette- 114+ pages of gospel songs intended for the heginner/ intemediatelevels This book tedches yot! h.t! to plq) the rhythm, a beginne) melody, an intemtediate nelod)) and the \ord, to 2j grealgospel tongs.

Power Ffatpicking Book with a l-hour Cassette -1, eam to pla), in any ker-. Learn to play in an!- position or register. Ljnlockthe m.vsrelies ofthe bluegross./ingerboard arur ream to be a'ei.o) notprctit. I-ou "oo'thiov ou,i1,'tnor "opu nur,.Bluegrass Guitar Solos That Every Parking Lot Picker Should Know Yol.l - 6 audio cassettes and a l6s-page bookof standatd hluegrass Gaitar Jamming Tunes *ritten in notes and tablatare. Leam to plur^: Ragtime Annie, Big sondy Riyer,Bill Chearhan, Billv In The Lov' Ground, Gold Rush, Doubte F"agrc, Frop-Earcd uri", ri"iu," iornpipu, p*1r"6 rur,Blackherry Blosson, old Joe Clqrk, Turkq, Jn The StrotL', Soldier's Jiy, St. Anne's Reel, Nothing To It, Arkinias .t rat e1er, Red-lfaircd Boy, sn'eet Georgia Brou'n, Salt Creek and llhiskey Before Bieakfast. Level: Beginner, Interme.lide, AdeoncedBluegrass Guitar Solos That Every Parking Lot Picker shoutd Know Vol. 2 - .4 sister series with the sahefonnat asl'o1 1. 6 cqsseltes u'ilh 2o more standatd tines for you to barn. ,bu t|ill leam to play: Alaband Jubitee, Blackllountain Rag Blackhen'R.t4. (herokee shqffe, crickei on The Hearth, Dixie [loedown, Down ibnder, Eighth of Jdn ary,,Jtltnlfanly,.hrneApple,KatieIIi,L,ibertv,trt ississippiSo\ayer,peacockRag,Red]' l l , ing,StonyCreek,TenpetianceReel,Teras(iales, l4heel I{oss and,.yes, The r|ildu,oo.l Fbra,er. Level: Beginner, Intemediate, Advanced

yl"1T Play.When The Singing Stops- Bluegrass Guitar Solos That Every Parking Lot picker Should Knowvot'J' Ihts ts|hcsame lorrndl as |bl- l- and.2 except lhis series is designe.l to teach yo to plq| the s(,los.for 20of the moslslon.lar.l hl egrass r\r(al!;. I I S-poge book *ith 6 cassettes. Levl : Beginner, Intermedide, AdvancedLearn To Flatpick - The Video- I vidco produced for the beginner qnd ihtcrmediate level. Lots of tips an.t rrte-savinFrct'tedies to 'nany of lhe mysteries of gttitor Pi(king. sone oJ thi tunes covered in this g|-ninute .video are The ll'iltl.r,oodFkn'er, Old ,/oc Olark and Dov,n ),onder. Level: beginnezfuntimediate.

Easy Gospef Guitar - The Video - Through this gI-ninutc video, lou ,till leqrn to ploy blaegrass/coDntry guitar throaghyou.rfatorite gospel songs. ,rhelher _vou .are a heginnrng or interntediate pla1,er, you wii derelop; repertoirc'of tunes and adds4'Ie lo so'lgs .vou tnqi alread! knov'. Ste,e sto y ptays lhe acconpalnrment an.l nelodf of each song, then enhances theon'an?enent u'ilh bttsic chords, bass- vulks, hommet-ons, pull-offi, runs ond other i".hniqoe" ,'i,1 srron be playi,lgn'onderful arrangentents to these u'ell-kno\rn tunes: Ariazt,?g irrace,iust a Closer Watk With The;, old-Tinte Religion, The oldRugged Cross, ,r'ill The Circle Be Ihb**e4 l|hat ,q l.rien) H:e Il.l'.ie In Jesur- and {,ryin, HolJ, (into The Lord.Level: heginn er/hegin ner-intermediate

Steve Kaufman's2 Hour Bluegrass Work Out - Series | -.lesignedasa practice tape this series lets vou pto,- atong titha ban(l atryline al halflpeed or full sPeed. The lead is on the teft s)eaker antl the band is <tn the right speaker. .t.here is yeryIillle instruction, lhe nelod)r's are writlen in noles i7 d hasic version. This $,(ry.you can lednt the sinple melo(lv antJ the,l jantvith lhe tape. 2 -One hour cassettes and book Level : AIIsteve

-Kaufman's 2 Hour Bluegrass work Out - Series 2 - sd,ne description os the fgt scries. Tttis ser h/]s 25 .ti/Jercntttlnes. 2 -One hoar catsettes with a book. Level : All

- To order any ofthese Steve Kaufman products write to:Steve Kaufman, 429 West Broadway, Maryville, TN. 37801 or cal 1_800-FLATpIK

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Mel Bay's Best-SellingFlatpicking Guitar Products

MasterAnthology of Flatpicking Guitar Solos:volume one (983698CD) - booSz-CD set

The Norman Blake Anthology (p664i) - bookBluegrass Guitar (92:9BCD) - booSCD setChampionship Flatpicking Guitar (g+SffBCD) -

booACD set &videoComplete Flatpicking Guitar Book (g+S62.) -

book, CD, &videoDeluxe Bluegrass Flatpickin'Guitar Method (pl6to) - bookFamous Gospel Favorites for Flatpicking Guitar Book

(g8s8zBCD) - book/CD setFavorite Guitar Pickin'Tunes Book (98SprBCD) -booSCD setFlatpicking Collection 1998 Annual Edition

(g8S6zBCD) - booSCD setFfatpickin'cospelTunes Book (p8s8gBCD) - booPCD setFlatpicking The Gospels (For Guitar) (gSon) -

book, cassette, &videoFlatpicking Tunes for rz,-String Guitar (g8f6SBCD) -

booSCD set

Great Guitar Picking Tunes (g8oS+BCD) - booSCD setKaufman's Collection of American Fiddle Tunes for

Flatpicking Guitar (pv+8) -book, z-CD set, &video

Steve Kaufman's Encyclopedia of Celtic Tunes forFlatpicking Guitar (98282)- book

The Legacy Of Doc Watson (gn+z) - bookPower Flatpicking Guitar (pSroSBCD) -

book/CD set &videoTunes for GuitarTechnique Book (98S9oBCD) -

boopCD setTwin Pickin/Flatpicking Duets (9823IBCD)- booSCD setWestern Swing Guitar Styles (949o6BCD) -bool(CD set

&videosWinfield Winners...Flatpicking Champions Live from

Steve Kaufman's Flatpicking lGmp(981rcU0 -video

You Gn Teach YourselP Flatpicking Guitar (gSrgo) -booh booACD set, cas5efte/ CD, &video

MEL BAY PUBLICATIONS, tNC., #4 lndustrial Dr., Pacific, MO 63069Visit our web site for complete information on all our products, including the latest additions to our

HotlisUNew Releases. Download our monthly Music Freebiesand browse our online magazines, Guitar Sessions@ and Creative Keyboar&,

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