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8/6/2019 St.grossman - Country Blues Guitar in Open Tunings on DVD
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C o u n t r y
Blu es Gu it a r
In Op en
T u n i n g st a u g h t b y
S t e f a n
G r o s s m a n
C o u n t r y
Blu es Gu it a r
In Op en
T u n i n g st a u g h t b y
S t e f a n
G r o s s m a n
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2
EXPLANATION OF T HE T A B S YSTEM
These words are most suitable for introducing the tablature
system, for tablature is just a guide and should be used in
conjunction with the recordings. Tablature is not like music
notation, however the combination of tab and music in an
arrangement forms a complete language. Used together with the
original recordings they give a total picture of the music.
The tab system does not attempt to show rhythms or accents.
These can be found on the music or heard in the recordings. Music
notation tackles these articulations to a degree, but the overall
sensations, the feel and the soul of music cannot be wholly
captured on the wri tten page. In the words of the great Sufi Hazrat
Inayat Khan: “…The traditional ancient songs of India composed
by great Masters have been handed down from father to son. The
way music is taught is different from the Western way. It is not
always written, but is taught by imitation. The teacher sings and
the pupil im itates and the intricacies and subtleties are learned by
imitation.”
This is the theme I’ve tried to interpolate into the tablature.
Tablature is the roadmap and you are the driver. Now to the tab:Each space indicates a string. The top space represents the first
string, second space the second string, etc. A zero means an open
string, a number in the space indicates the fretted position, for
instance a 1 in a space indicates the first fret of that string.
“…Learning from listening is unquestionably the best way, the
only way that suits this kind of music. You are setting the notes
down for a record of what happened, a record that can be studied,
preserved and so on, a necessary and useful companion to the
recordings of the actual sounds. I keep thinking of this as I
transcribe; if you could do it, it would be good to have a legend
across each page reading : ‘Listen to the record if you want to learnthe song.’”
Copyright © 1965 Oak PublicationsAll rights reserved. Used by permission.
1
2
3
4
5
6
1
2
3
4
5
6
01
4
In the diagram below the zero is on the second string and
indicates the open second string is played. The 1 is placed on thethird string and signifies the first fret of the third string. Likewise,
the 4 is in the fourth space and indicates the fourth fret of the
fourth string.
1
2
3
4
5
6
2
0
Generally for fingerpicking styles you wi ll be playing the thumb,
index and middle fingers of your picking hand. To indicate the
picking finger in tab the stems go up and line up down from the
numbers.
A. A stem down m eans that your thumb strikes the note.
B. If a stem is up, your index or middle finger strikes the note.The choice of finger is left up to you, as your fingers will
dictate what is most comfortable, especially when playing
a song up to tempo!
C. The diagram below shows an open sixth string played with
the thumb followed by the second fret of the third string
played with the index or middle finger:
1
2
3
4
5
6
1) 2) 3) 4)
1
5) 6)
3 13
3 3
0 1 1
1) The open sixth string is played with the thumb.
2) The first fret of the sixth string is pinched together with the
third fret on the third string. The sixth string is played with
the thumb, the third string with the index finger.
3) The thumb strikes the third fret of the fourth string.
4) The first fret/ sixth string is played w ith the thumb; it’s
pinched with two notes in the treble. The index and middle
fingers strike the first fret/ first string and the third fret/
second string.
5) The next note is the index finger hitt ing the first fret/ second
string.
6) Lastly, the bass note is played with the thumb on the thirdfret/ fourth string.
There are certain places in blues and contemporary guitar that
call for the use of either strumming techniques or accented bass
notes. The tab illustrates these as follows:
1
2
3
4
5
6
1) 2)
0
3) 4)
0
5)
00 0 01y 1 1t
2iE
2 20 0
In most cases the thumb will play an alternating bass
pattern, usually on the bass strings. The index and middle
fingers play melodic notes on the first, second and third strings.
Please remember, this is not a rule; there are many exceptions.
In fingerpicking there are two “picking” styles: Regular
picking and “pinching” two notes together. A pinch is shown
in the tab by a line connecting two notes. A variation of this can
also be two treble notes pinched with a bass note. Follow the
examples below from left to right:
Hally Wood (taken from the Publisher’s Foreword
to the New Lost City Ramblers Songbook .)
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3
1) The thumb hits the open sixth string and the second fret on
the fi fth string should also sound. For example, play an E
chord. Now strike the open string and vary the force of your
attack. Try hitting it hard enough so that the fifth string
vibrates as well. This technique is very important for
developing a full sound and the right alternating bass
sound.
2) Next the arrow notation indicates a brush and the arrow
head indicates the direction of the brush.
A. If the arrowhead is pointed down, the hand brushes up
towards the sixth string.
B. If pointed up, the hand brushes down towards the first
string.
C. The number of strings to be played by the brush is
shown by the length of the arrows. For example, this
arrow shows a brush up toward the sixth string, but
indicates to strike only the first, second and third strings.
D. The brush can be done with your whole hand,
index finger or middle and ring finger. Let comfort plus
a full and “right” sound guide your choice.
3) The third set of notes again shows the sixth string/ open
bass note played with the thumb and being struck hard
enough to make the fifth string/ second fretted position
sound.
4) Once more an arrow pointed downward indicates a brush
up. This example forms an E chord and the brush up
includes the first, second, third and fourth strings.
5) The last set of notes has an arrow pointed upward, indicat-
ing a brush downward striking the first, second, and third
strings.
1
2
3
4
5
6
1) 2)
7
3) 4) 5)
W8 P79•1 2
•1 23 H2
– 42
Here are several special effects that are also symbolized in
tablature:
3) HARMONICS: Symbol ized by a dot (•) . To play a harmonic:
gently lay your finger directly above the indicated fret (don’t
press down!) The two notes in the example are both
harmonics. The first on the twelfth fret/ third string is
played with the index/middle finger, while the second
note—twelfth fret/ fourth string—is played with the thumb.
4) SLIDE: Shown with a dash (–). Play the second fret/ sixth
string and then slide up to the fourth fret of the sixth string.
This is a continuous movement: the string is struck once
with your thumb.
5) PULL-OFF: “P” designates a “pul l-off.” Fret both the sev-
enth and ninth frets on the second string. Play the ninth fret
with your index/ middle finger and then quickly remove it
in the same stroke, leaving the seventh fret/ second string.
Pull-offs are generally in a downward direction.
6) In certain cases other specific symbols are added to the tab,
for instance:
A. For ARTIFICIAL HARMONICS an “X” is placed after the
fretted position.
B. For SNAPPING a note an indication m ay be given with
a symbol or the writ ten word.
Many times these special techniques are combined, for in-
stance putting a pull-off and a hammer-on together. Coordination
of your fretting and picking hands will be complex initially, but the
end results are exciting and fun to play.
PICKING HAND POSITION FOR FINGERPICKING STYLES:
The Classical and Flamenco schools have strict right-hand rules,
however for this style of acoustic fingerpicking there are NO
RULES, only suggestions. Your right hand position should be
dictated by comfort, however in observation of many well-knownfingerpickers I found one hand position similarity—they all tend to
rest their little finger and/ or ring finger on the face of the guitar.
This seems to help their balance for accenting notes and contro l
of the guitar. Experiment w ith this position: it may feel uncomfort-
able at first. I ask my students to perfect this position and then
compare the sound to when their finger(s) were not placed on the
face of the guitar. They usually find the sound is greatly improved
when some contact is kept with the guitar face.
MUSIC NOTATION: We have somewhat adapted the music
notation in that this also shows whether the note is picked with
your thumb or index/ middle fingers. The stems of the music notescorrespond to the direction of the tab stems. I hope this wi ll make
the music notation clearer to fingerpicking guitarists.
I hope you will feel at home and comfortable with the tablature
and musical notations. Remember, these are only road maps
indicating where and how you should place your fingers. The
playing and musical interpretation is up to you.
1) HAMMER-ON: Designated by an “H” which is placed after
the stem on the fret to be hammered. In the example
above, fret the second fret/ fifth string and pick it w ith your
thumb. Then “hammer-on” (hit hard) the third fret/ fifthstring, i.e. fret the third fret / fifth string. This is an all-in-one,
continuous motion which will produce two notes rapidly
with one picking finger strike.
2) WHAM: Designated by a “W.” In the example the eighth
fret/ second string is “whammed” and played with the
seventh fret / first string. Both notes are played together
with your index and middle fingers respectively. The
whammed note is “stretched.” We do this by literally
bending the note up. We can “wham” the note up a half
tone, full tone, etc.
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4
V ESTAPOL
& ## 44
ÔœAå
œ œ .˙
œ œ
œ œ
D
2 4—
0
0 0
0 0
œ .˙
œ œ
œ œ
2 4—
0 0
0 0
œ œ œ œ œ œ œ
œ œ
œ œ
2 4— 00 2 H 0
0 0
0 0
& ##
Ôœ .˙
œ œ œ œ 2 4—
0 0
0 0
œ œ œ œ œ œ œ
œ œ œ œ 2 4— 0
0 2 H 0
0 0
0 0
œ œ œ œ œ œ œ
œ œ œ œ 2 4— 0
0 2 H 0
0 0
0 0
& ##
Ôœ œ œ jœ œ jœ
œ œ œ œ 2 4— 0
0 2 H
0 0
0 0
˙ Ó
œ œ œ œ #0
00 1
0
‰ œ jœ œ œ œ œ
œ œ œ œ
G
0 02 0 2 H
0 02 2
& ##
Ôœ œ œ œ jœ œ jœ œ œ œ œ
00 2 H 0 2 H
0 02 2
˙ ‰ œ jœ œ œ œ œ
D
00 2
0 0
0 0
jœ œ jœ jœ jœ .œ
œ œ œ œ 0 2 -42 0
0 0
0 0
Open D Tuning: DADF≥AD
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& ##
Ô
‰ jœ Œ ‰ œ œ œ œ œ œ œ œ G
02 0 2 H
10 0
2 2
œ œ œ œ jœ œ jœ œ œ œ œ
00 2 H 0 2 H
0 02 2
˙ ‰ œ jœ œ œ œ œ
D
00 2
0 0
0 0
& ##
Ô
jœ œ jœ jœ jœ .œ
œ œ
œ œ
0 2 -42 0
0 0
0 0
Œ œ œ jœ œ œ jœ œ œ œ œ
A‡
20 0
12 2
0 0
& ##
Ô
jœ œ jœ œ œ œ œ œ œ
2 00 2
2 20 0
˙ ‰ œ jœ œ œ œ œ œ
D
00 2 H
00 0
0 0
w
œ œ œ œ 0
0 0
0 0
&##
ÔœBå
jœ œ jœ n jœ œ
jœ œ œ œ œ
D
9 7P 08 0
0 0
0 0
jœ œ jœ n jœ œ
jœ œ œ œ œ
9 7P 08 0
0 0
0 0
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7
& ##
Ô
jœ œ jœ n jœ .œ œ œ œ œ
9 7P 78
0 0
0 0
˙ Óœ
œ œ œ œ œ
0
0 00 0
0 0
jœ œ jœ n jœ œ jœ œ œ œ œ
9 7P 08 0
0 0
0 0
& ##
Ô
jœ œ jœ n jœ œ jœ
œ
œ
œ
œ
9 7P 08 0
0 0
0 0
jœ œ jœ n jœ .œ
œ
œ
œ
œ
9 7P 78
0 0
0 0
˙ Ó
œ
œ œ œ #0
00 1
0
& ##
Ô‰ œ jœ œ œ Œ
œ œ œ œ œ
G
02 2
10 0
2 2
‰ œ jœ jœ .œ
œ œ œ œ 0
2 2
0 02 2
˙ ‰ œ jœ
œ œ œ œ
D
00 2
0 0
0 0
&##
Ô
jœ œ jœ jœ jœ .œ
œ œ œ œ 0 2 -42 0
0 0
0 0
‰œ
jœ
. ‰œ
jœ
.
œ œ œ œ
G
2 21 1
0 02 2
‰œ
jœ
. ‰.œ œ œ œ œ
2 21
0 02 2
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8
& ##
Ô
˙ ‰ œ jœ œ œ œ œ
D
00 2
0 0
0 0
jœ œ jœ jœ jœ .œ
œ œ œ œ
0 2 -42 0
0 0
0 0
Œ œ œ jœ œ œ jœ œ œ œ œ
A‡
20 0
12 2
0 0
& ##
Ô
jœ œ jœ œ œ œ œ œ œ
2 00 2
2 20 0
˙ ‰ œ jœ
œ
œ œ
œ
œ D
00 2 H
00 0
0 0
w
œ
œ
œ
œ
0
0 0
0 0
& ##
ÔœCå
jœ .œ jœ .œ
œ œ œ œ 9 12– 9
0 0
0 0
˙ ˙n Á
œ œ œ œ 7
8 W
0 0
0 0
jœ œ jœ n œ œ
œ œ œ œ 9 7
8 8
0 0
0 0
&##
Ôwœ œ œ œ œ 0
00 0
0 0
jœ œ jœ n jœ œ jœ œ œ œ œ
9 7P 08 0
0 0
0 0
jœ œ jœ n jœ œ jœ œ œ œ œ
9 7P 08 0
0 0
0 0
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& ##
Ô
jœ œ jœ n jœ .œ œ œ œ œ
9 7P 78
0 0
0 0
˙ Óœ œ œ œ #0
00 1
0
‰ œ jœ . ‰ œ jœ
.œ œ œ œ G
2 21 1
0 02 2
& ##
Ô‰ œ jœ
. ‰ .œ œ œ œ œ
2 21
0 02 2
˙ ‰ œ jœ
œ
œ
œ
œ D
00 2
0 0
0 0
jœ œ jœ jœ .œ
œ
œ
œ
œ
0 2 4 0
0 0
0 0
& ##
Ô‰ œ œ œ œ œ œ œ G
œ œ œ œ 0 0
0 2 H 0 2 H
0 02 2
œ œ œ œ jœ œ jœ
œ œ œ œ 0
0 2 H 0 2 H
0 02 2
&##
Ô˙ ‰
œ jœ œ œ œ œ
D
00 2
0 0
0 0
jœ œ jœ jœ jœ .œ
œ œ œ œ 0 2 -42 0
0 0
0 0
Œ œ œ
jœ œ œ
jœ œ œ œ œ
A‡
20 0
12 2
0 0
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& ##
Ô
jœ œ jœ œ œ œ œ œ œ
2 00 2
2 20 0
˙ ‰ œ jœ œ
œ œ œ œ D
00 2 H
00 0
0 0
wœ œ œ œ
0
0 0
0 0
& ##
ÔœAå
œ œ .˙
œ
œ
œ
œ D
2 4—
0
0 0
0 0
œ œ .˙
œ
œ
œ
œ
2 4—
0
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œ œ œ œ œ œ œ
œ
œ
œ
œ
2 4— 00 2 H 0
0 0
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& ##
Ôœ .˙
œ œ œ œ 2 4—
0 0
0 0
œ œ œ œ œ œ œ œ œ œ œ 2 4— 0
0 2 H 0
0 0
0 0
œ œ œ œ œ œ œ œ œ œ œ 2 4— 0
0 2 H 0
0 0
0 0
&##
Ôœ œ œ jœ
œ jœ œ œ œ œ
2 4— 00 2 H
0 0
0 0
˙ Óœ œ œ œ #0
00 1
0
‰œ
jœ jœ œ
jœ œ œ œ œ
G
0 02 2
0 02 2
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& ##
Ô
œ œ œ œ jœ œ jœ œ œ œ œ
00 2 H 0 2 H
0 02 2
˙ ‰ œ jœ œ œ œ œ
D
00 2
0 0
0 0
jœ œ jœ jœ jœ .œ
œ œ œ œ
0 2 -42 0
0 0
0 0
& ##
Ô‰ œ œ œ œ œ œ œ G
œ œ œ œ
0 00 2 H 0 2 H
0 02 2
œ œ œ œ jœ œ jœ œ œ œ œ
00 2 H 0 2 H
0 02 2
& ##
Ô˙ ‰ œ jœ
œ œ œ œ
D
00 2
0 0
0 0
jœ œ jœ jœ jœ .œ
œ œ œ œ 0 2 -42 0
0 0
0 0
Œ œ jœ .œ
œ œ œ œ
G
02
0 02 2
&##
Ô˙n ˙#œ n
damp
œ œ #
damp
œ
(G≥) (A)
3 42}
3}
0 03 4
˙ ‰œ
jœ œ œ œ œ œ
D
00 2 H
00 0
0 0
˙ · · · · · ·˙
0 12 •
12 •
12 •
12 •
12 •
12 •o
0
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J OHN HENRY
& ## 44
Ôœ œ
œ œ 0 2
0 2
jœ .œ jœ jœ œ jœ Jœ œ œ œ œ
-52 50 0
0 0-52 5
œ Œ ˙nœ œ œ n
œ
5 3
0 05 3
& ##
Ôœ n œ œ jœ œ jœ œ n œ œ œ œ
03 5— 5
00 0
3 5— 5
œ Œ ˙n
œ œ œ n œ 5 3
0 05 3
jœ œ jœ jœ œ jœ œ œ œ œ œ 2 5– 5
0 00 0
2 5– 5
& ##
Ô˙n ˙
œ n œ œ œ 3 2
0 03 2
.œ jœ jœ œ jœ œ œ œ œ 0 0
0 00 0
0 0
.œ jœ jœ .œ
œ œ œ œ 2 0 2
0 02 0
& ##
Ôjœ .œ jœ jœ œ jœ Jœ œ œ œ œ
-52 50 0
0 0-52 5
˙n ˙œ n œ œ œ 3 2
0 03 2
.œ jœ n jœ .œ #œ Jœ ‰ œ œ 0
030
0 00
Open D Tuning: DADF≥AD
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& ##
Ô.œ
jœ jœ .œ œ œ œ œ
00 2 H
0 00
0 0
˙n Ájœ .œ Á
œ œ œ œ
3 W 3 W
0 0
0 0
.œ jœ jœ .œ œ œ œ œ
0 00 2 H
0 0
0 0
& ##
Ô
˙̇n Á
jœ .œ Á
œ
œ
œ
œ
3 W 3 W0
0 0
0 0
.œ jœ jœ .œ
œ
œ
œ
œ
0 00 2 H
0 0
0 0
˙̇n Á
jœ .œ Á
œ
œ
œ
œ
3 W 3 W0
0 0
0 0
& ##
Ô.œ jœ jœ œ jœ
œ œ œ œ 0 0
0 2 H 2
0 0
0 0
˙ jœ œ jœ
œ œ œ œ 0
0 2
0 0
0 0
˙ œ œ
œ œ œ œ 0
0 2
00 2
0
&##
Ôjœ .œ jœ jœ
œ jœ Jœ œ œ œ œ
-52 50 0
0 0-52 5
œ Œ˙nœ œ œ n œ
5 3
0 05 3
œ nœ œ jœ
œ jœ œ n œ œ œ œ
3 5— 50 0
0 03 5— 5
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& ##
Ô
œ Œ ˙nœ œ œ n œ
5 3
0 05 3
jœ œ jœ jœ œ jœ œ œ œ œ œ
2 5– 50 0
0 02 5– 5
˙n ˙œ n œ œ œ
3 2
0 03 2
& ##
Ô˙ jœ œ jœ œ œ œ œ
00
00 0
0 0
.œ jœ jœ .œ œ œ œ œ
2 0 2
0 02 0
jœ .œ jœ jœ œ jœ Jœ œ œ œ œ
-52 50 0
0 0-52 5
& ##
Ô˙n ˙
œ n œ œ œ 3 2
0 03 2
.œ jœ n jœ .œ #œ Jœ ‰ œ œ 0
030
0 00
.œ
jœ jœ .œ
œ œ œ œ 0
0 2 H
00 0
0 0
&##
Ô
˙n Ájœ .œ
œ œ œ œ 0
8 W
00
0 0
.œ jœ
jœ
.œ œ œ œ œ 0 0
0 2 H
0 0
0 0
˙n Ájœ .œ
œ œ œ œ 0
8 W
0 0
0 0
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& ##
Ô
.œ jœ jœ .œ œ œ œ œ
0 00 2 H
0 0
0 0
˙n Á
jœ .œ Áœ œ œ œ
8 W 8 W
0 0
0 0
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0 0
0 0
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& ##
ÔHIGH PART
œ œ
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& ##
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jœ ˙ jœ œ jœ œ œ œ œ -1 27 12
0
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&##
Ô
˙n ˙
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0 0
0 0
˙ jœ œ jœ œ œ œ œ
7 70
0 0
0 0
.œ jœ jœ .œ
œ œ œ œ 9 7 9
0 0
0 0
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& ##
Ô
jœ ˙ jœ œ jœ œ œ œ œ
-127 120
0 0
0 0
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10 9
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˙ œ œ
œ œ œ œ 0 7 9
0 0
0 0
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& ##
Ô
jœ .œ jœ œ jœ œ œ œ œ
9 12– 120
0 0
0 0
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12 10
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10 12– 120
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& ##
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jœ
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0 0
0 0
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& ##
Ô
˙n Ájœ .œ Á
œ œ œ œ
3 W 3 W
0 0
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0 00 2 H
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Ô
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Ô˙ jœ œ jœ
œ œ œ œ 0
0 2 H00 0
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˙
0̇
0
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When John Henry was a little baby boy, sitting on the his papa’s knee
Well he picked up a hammer and little piece of steel
Said, Hammer’s gonna be the death of me, Lord, Lord
Hammer’s gonna be the death of me
The captain said to John Henry
I’m gonna bring that steam drill around
I’m gonna bring that steam drill out on the job
I’m gonna whup that steel on down
John Henry told his captain
Lord a man ain’t nothing but a man
But before I’d let your steam drill beat me down
I’d die with a hammer in my hand
John Henry said to his shaker
Shaker, why don’t you sing
Because I’m swinging thirty pounds from my hips on down
Just listen to that cold steel ring
John Henry said to his shaker
Shaker, why don't you pray
Cause if I miss this little piece of steel
Tomorrow be your burying day
Now the captain said to John Henry
I believe that mountain’s caving in
John Henry said right back to the captain
Ain’t nothing but my hammer sucking wind
Now the man that invented the steam drill
He thought he was mighty fine
But John Henry drove fifteen feet
The steam drill only made nine
John Henry hammered in the mountains
His hammer was striking fire
But he worked so hard, it broke his poor heart
And he laid down his hammer and he died
J OHN HENRY
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Now John Henry had a little woman,
And the dress that she wore was red
She started down the track and she never looked back
Going where John Henry lies dead
John Henry had a little woman
Her name was Polly Anne
John Henry was barely in the ground
Polly Anne was driving steel like a man
John Henry had a little baby
You could hold him in the palm of your hand
And the last words I heard that poor boy say
My daddy was a steel driving man
So every Monday morningWhen the blue birds begin to sing
You can hear John Henry a mile or more
You can hear John Henry’s hammer ring
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& ## 44
Ô
jœ .œ œ œ œ œ œ œ (D)
2 4 0 2
2 4 0 2
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& ##
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jœ n œ # jœ jœ .œ œ nœ œ œ
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& ##
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jœ œ jœ jœ œ jœ œ
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2 00 0
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& ##
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jœ
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(D)
0 02 2
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œ nœ
02 2
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0 0
Open D Tuning: DADF≥AD
IF YOU DON ’T W A N T ME
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& ##
Ô
jœ .œ œ œ œ œ œ œ (D)
2 4 0 2
2 4 0 2
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œ nœ
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& ##
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jœ n œ # jœ jœ œ jœ œ n œ œ œ
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jœ œ œ œ n œ
(D)
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œ œ
œ œ
jœ n .œ #œ œ œ n œ
02 2
00 3
0 0
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& ##
Ô
jœ .œ œ œ œ œ œ œ (D)
2 4 0 2
2 4 0 2
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œ nœ
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& ##
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jœ œ œ œ n œ
(D)
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œ œ
œ œ
jœ n .œ #œ œ œ n œ
02 2
00 3
0 0
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24
IF YOU D ON ’T W A N T ME
(Mississippi John Hurt lyrics)
If you don’t want me, baby, got to have me anyhow
If you don’t want me, baby, got to have me anyhow
It was late last night when everything was stil l
Well, me and your baby eased out on the hil l
I tried my best to do my father’s will
I tried my best to do my father’s will
Don’t want me, baby, got to have me anyhow
Don’t want me, baby, got to have me anyhow
The sun go down, ain’t this a lonesome place?
The sun goin’ down and ain’t this a lonesome place?
So lonesome here, can’t see in my baby’s face
It’s so lonesome here, I can’t see in my baby’s face
You don’t want me, baby, got to have me anyhow
Don’t want me, baby, got to have me anyhow
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& # 44
ÔVERSE
..œ œ jœ jœ .œ
œ œ
œ œ
G
0 2 0P
0 0
0 00 0
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02 3 0
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..œ œ jœ œ œ œ œ œ
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2 0 P021 1
02 2
0 0
& #
Ôœ œ œ jœ .œ œ œ œ œ
G
02 4— 0
0 00 0
..œ œ jœ œ œ
œ œ
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C
7 5 7 95
5 55 5
jœ œ jœ ˙
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7 55
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& #
Ô
jœ œ jœ œ œ œ
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G
2 0 2 5–
0 0 0
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.œ jœ jœ œ jœ œ œ œ œ 0 2 0P
02
0 00 0
Open G Tuning: DGDGBD
WORKING ON THE NEW RAILROAD
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& #
Ô
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03 0
0 00 0
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00 0
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00 0
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& # ..
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0 00 0
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& # ..
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.
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.
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jœ œ œ œ œ œ œ œ œ
C
2 0 P021 1
02 2
0 0
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& #
Ô
œ œ œ jœ .œ œ œ œ œ G
02 4— 0
0 00 0
..œ œ jœ œ œ œ œ œ œ
C
7 5 7 95
5 55 5
jœ œ jœ ˙œ œ œ œ
7 55
5 55 5
& #
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jœ œ jœ œ œ œ œ œ œ œ
55 5
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& #
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00 0
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& # ..
..Ô
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& # ..
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& # 8 12
ÔINTRO
jœ œ jœ #
0 1 2
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.œ n œ Jœ
0 0 0 3 32 1 0 0
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& #
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& # 8 6 8 12
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& # 8 12 8 6
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jœ œ jœ .˙ .˙n
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.˙ .˙n0 0 0
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Open G Tuning: DGDGBD
S PECIAL R IDER
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& # 8 6 8 12
Ô
Œ . œ œ œ œ jœ œ
.˙0 00 000u
0
VERSE
jœ œ œ œ œ œ œ œ œ œ .œ Jœ .œ .œ .œ œ
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-52 5 5 5 5 5 50 0 0
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& #
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& # 8 6 8 12
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3 W 00 09 -79 3
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& # 8 6
Ô
Œ . œ œ b jœ œ œ œ jœ œ jœ .˙ .˙n
0 0 01
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& # 8 6 8 12
ÔŒ jœ œ jœ #.˙
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& #
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jœ n œ jœ jœ jœ œ œ n œ œ jœ œ œ b jœ œ
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01
3 W
0
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& # 8 12 8 6
Ô
Œ jœ œ œ œ b jœ œ œ œ jœ œ jœ .˙ .˙n
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& # 8 6 8 12
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& #
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jœ œ
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8 7 8 5 4 50
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& #
Ô
‰ œ œ œ œ œ œ œ œ œ œ œ b œ œ œ ‰Jœ œ ..˙̇ Œ . Œ Jœ
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& # 8 6
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8/6/2019 St.grossman - Country Blues Guitar in Open Tunings on DVD
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37
S PECIAL R IDER
(Skip James lyrics)
I ain’t got no special rider here
I ain’t got no special rider…
I ain’t got nobody to love and feel my care
I woke up this mornin’, looked at the special risin’ sun
Got up this mornin’, looked at special risin’ sun
An’ I prayed to the Lord my special rider would go
I sing this song to ease your trouble in mind
Sing this song, ease your trouble in mind
And you stay worried, yeah, and bothered all the t ime
Hey, hey, what more can I do?
Hey, hey, what more can I do?Honey, you must want me keep singin’ these special blues
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H A R D T IME K ILLIN ’ F LOOR BLUES
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40
H A R D T IME K ILLIN ’ F LOOR BLUES
(Skip James lyrics)
Hard time here and everywhere you go
Times is harder than ever been before
And the people are driftin' from door to door
Can't find no heaven, I don't care where they go
Hear me tell you people, just before I go
These hard times will kill you just dry long so
Well, you hear me singin' my lonesome song
These hard times can last us so very long
If I ever get off this killin' floor
I'll never get down this low no moreNo-no, no-no, I'll never get down this low no more
And you say you had money, you better be sure
'Cause these hard times will drive you from door to door
Sing this song and I ain't gonna sing no more
Sing this song and I ain't gonna sing no more
These hard times will drive you from door to door
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I ’M S O GLA D
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8/6/2019 St.grossman - Country Blues Guitar in Open Tunings on DVD
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8/6/2019 St.grossman - Country Blues Guitar in Open Tunings on DVD
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8/6/2019 St.grossman - Country Blues Guitar in Open Tunings on DVD
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I ’M S O GLA D
(Skip James lyrics)
And I’m so glad, and I am glad, I am glad, I’m glad
I don’t know what to do, don’t know what to do, I don’t know what to do
I’m tired of weepin’, tired of moanin’, tired of groanin’ for you
And I’m so glad, I am glad, I am glad, I’m glad
I’m tired of weepin’, tired of moanin’, tired of groanin’ for you
And I’m so glad, and I am glad, I am glad, I’m glad
I’m so tired of moanin’, tired of groanin’, tired of longin’ for you
I’m so glad, and I am glad, I am glad, I’m glad
I don’t know what to do, know what to do, I don’t know what to do
I’m so tired, and I am tired, I am tired…
And I’m so glad, I am glad, I am glad, I’m gladI don’t know what to do, know what to do, I don’t know what to do
I’m tired of weepin’, tired of moanin’, tired of groanin’ for you
And I’m so glad, and I am glad, I am glad, I’m glad
I’m so tired, and I am tired, I am tired, I’m tired
I’m tired of weepin’, tired of moanin’, tired of groanin’ for you
I’m so glad, and I am glad, I am glad, I’m glad
I don’t know what to do, know what to do, don’t know what to do