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  • 1.TEACHYOURSELF

2. TEACHYOURSELFby Russ Barenberg Teach yourself authentic bluegrass. Clear instructions from a professional; basics, right- and left-hand techniques, solos, backup, personal advice on performance and much more. Plus a complete selection of the best bluegrass songs and tunes to learn from.Cover photography of guitar by Randall Wallace Background cover photography by Herb Wise Project editors: Peter Pickow and Ed Lozano Musical contractor: Bob Grant Interior design and layout: Don Giller This book Copyright 1978 by Amsco Publications, A Division of Music Sales Corporation, New York This edition published 1999 by Oak Publications, A Division of Embassy Music Corporation, New York All rights reserved. No part of this book may be reproduced in any form or by any electronic or mechanical means, including information storage and retrieval systems, without permission in writing from the publisher. Order No. OK 64990 US International Standard Book Number: 0.8256.0325.0 UK International Standard Book Number: 0.7119.7622.8 Exclusive Distributors: Music Sales Corporation 257 Park Avenue South, New York, NY 10010 USA Music Sales limited 8/9 Frith Street, London W1V 5TZ England Music Sales Pty. limited 120 Rothschild Street, Rosebery, Sydney, NSW 2018, Australia Printed in the United States of America by Vicks lithograph and Printing CorPOrationOak Publications New York/ London/Paris/Sydney/Copenhagen/Madrid 3. Compact Disc Track Listing 1. 2. 3. 4.5. 6. 7. 8. 9. 10. 11.12. 13. 14. 15. 16. 17. 18. 19.20. 21. 22. 23.24. 25. 26. 27. 28.Basic Rhythm Guitar Playing: Music Examples from page 9 Music Examples from page 10 Music Examples from page 11 Bass Runs: Music Example from page 12 Simple Melodic Playing: Music Examples from page 14 Music Examples from page 15 p. 16 "Roll in My Sweet Baby's Arms" "Roll in My Sweet Baby's Arms" (backup) p. 18 "Will the Circle Be Unbroken" "Will the Circle Be Unbroken" (backup) p. 19 "Wildwood Flower" "Wildwood Flower" (backup) p. 20 "John Hardy" "John Hardy" (backup) p. 22 "Willow Garden" "Willow Garden" (backup) p. 24 "Under the Double Eagle" "Under the Double Eagle" (backup) p. 26 "All the Good Times Are Past and Gone" "All the Good Times Are Past and Gone" (backup) Flatt Runs and How to Use Them: Music Examples from page 29 Music Examples from page 30 Music Examples from page 31 Beginning a Thne: Music Examples from page 32 Endings for Songs: Music Examples from page 33 Endings for Instrumentals: Music Example from page 33 Music Examples from page 34 p. 35 "Old Joe Clark" "Old Joe Clark" (backup) p. 36 "Soldier's JoY" "Soldier's JoY" (bass runs) "Soldier's Joy" (backup)29. 30. 31. 32. 33. 34. 35. 36. 37. 38. 39. 40. 41. 42. 43.44. 45. 46. 47. 48. 49. 50. 51. 52. 53. 54. 55. 56. 57. 58. 59.p. 38 "Cripple Creek" "Cripple Creek" (backup) p. 38 "Fire on the Mountain" "Fire on the Mountain" (backup) p. 40 "Salt Creek" "Salt Creek" (backup) p. 41 "Blackberry Blossom" "Blackberry Blossom" (backup) p. 42 "Thrkey in the Straw" "Thrkey in the Straw" (backup) p. 43 "Nine Pound Hammer" "Nine Pound Hammer" (backup) p. 44 "Sitting on Top of the World" "Sitting on Top of the World" (backup) p. 46 "Footprints in the Snow" "Footprints in the Snow" (backup) p. 50 "Little Maggie" "Little Maggie" (backup) Crosspicking: Music Examples from page 51 Music Examples from page 52 Syncopation and Unexpected Accents: Music Examples from page 53 Chunking Chords and Left-hand Damping: Music Example from page 54 p. 55 "Pretty Polly" "Pretty Polly" (backup) p. 56 "Farewell Blues" "Farewell Blues" (backup) p. 58 "John Henry" "John Henry" (backup) p. 59 "Dark Hollow" "Dark Hollow" (backup) p. 60 "Live and Let Live" "Live and Let Live" (backup)CD Personnel Bob Grant: Guitar, Mandolin, and Vocals Tony Trischka: Banjo Antoine Silverman: Fiddle Matt Weiner: Bass 4. Table of Contents Introduction 4 Reading Tablature 5 Rhythmic Notation and Keeping Time 5 Rilles of Pick Direction 7 Using a Flatpick 8 Left-hand Tips 8 Basic Rhythm Guitar Playing 9 Bass Runs 12 On Rhythm Guitar and Playing with Other People 13 Simple Melodic Playing 14 Roll in My Sweet Baby's Arms Backup 16 Break 17 Will the Circle Be Unbroken 18 Wildwood Flower 19 john Hardy Backup 20 Break 21 Willow Garden 22 Under the Double Eagle 24 All the Good Times Are Past and Gone Backup 26 Break 27 Lead Playing with an Alternating Pick Stroke Fiddle Tunes 28 Soloing on Songs 29 Flatt Runs and How to Use Them 29 Beginning a Tune 32 Endings for Songs 33 Endings for Instrumentals 33 Oldjoe Clark 3528Soldier's joy Backup 36 Break 37 Cripple Creek 38 Fire on the Mountain 38 Salt Creek 40 Blackberry Blossom 41 Turkey in the Straw 42 Nine Pound Hammer 43 Sitting on Top ofthe World Backup 44 Break 45 Footprints in the Snow Backup 46 Break 48 Little Maggie 50 Some Advanced Flatpicking Techniques 51 Crosspicking 51 Syncopation and Unexpected Accents 52 Chunking Chords and Left-hand Damping 54 Floating 54 Pretty Polly 55 Farewell Blues 56 john Henry 58 Dark Hollow 59 Live and Let Live 60 Appendices 61 Tuning 61 Chord Chart 61 Different Keys, Transposition and the Use of a Capo 63 Discography 64 5. Introduction This book will get you acquainted with many of the standard songs and instrumentals in the bluegrass repertoire as it teaches you the details of bluegrass guitar playing. You'll find interesting guitar breaks for all of the tunes, and backup parts for several of them. All the parts of each song, including the melody, are written in tablature so that you don't have to know how to read music to use the book. For beginners, I've included simple and complete instruction of the basics of backup and lead playing that will prepare you for learning the tunes. There are a fair number of easy songs to get you started. If you've already played some bluegrass you can use the book as a valuable source of songs and solos and as an enjoyable means of refining your playing. The guitar parts gradually increase in difficulty, and they get pretty fancy by the end of the book. There you'll be introduced to some advanced techniques and modern styles of bluegrass and newgrass playing. Tips on how to turn the tablature into good bluegrass will enrich your feel for the music as you learn which notes to play. In addition, there's information about what to play and when to play it in a bluegrass band so you'll have a better idea of what to do when you get together with other pickers. One nice feature of this book is that the tunes can also be found in an Everybody's Favorite book for each of the other bluegrass instruments. So if you have friends who play the fiddle, banjo, mandolin, or bass, you can try playing these tunes in a group. Even if you can't get together a complete bluegrass band, it's always fun to try out what you've learned with others. Just playing with one other person can do wonders for your sense of time and will help draw you into the spirit of the music. Be sure to study carefully the section on reading tablature so that you understand the rhythmic notation before you start to learn the music. For each of the tunes, the melody is written in tablature on the upper staff, and the break is on the lower one. On some tunes, a backup part is given along with the melody, which is above it. These parts are presented before the breaks. Once you've learned the backup parts, you should have no trouble playing rhythm guitar to any other bluegrass songs as long as you know the chords. On the songs, you might want to learn the melody and chords first so you can hum the tune, strum along, and get familiar with it. Then, when you learn the break you'll see how it relates to and embellishes the melody. On instrumentals it might be best to learn the breaks first. (The melody line is often very similar to the break, particularly in some of the fiddle tunes.) Once you know a break, try to find someone to play backup and accompany you so that you can hear the chord changes as you play. Learn the tunes first in the key they are written without using a capo. If you're going to play with people who are learning from the other Teach Yourself bluegrass books, put your capo on the fret specified at the beginning of that particular tune. This will put you in the right key. However, ouly some of the tunes require a capo. Try to listen to as much bluegrass as you can to get a feel for how these tunes can sound. I have included a discography at the back of the book. I hope you have a great time learning and playing the music.4Teach Yourself Bluegrass Guitar 6. Reading Tablature Atablature staff has six lines that represent the strings of a guitar. The low E string is on the bottom.Numbers written on the lines indicate which fret to play on each string. ACchord would look like this:Rhythmic Notation and Keeping Time Vertical lines across the staff divide the tablature into small sections called measures. The time signature is indicated on the first line of tablature for each tune. It tells you how many beats are in each measure. All but two of the songs in this book are written in 414 time. In 414 time there are always four quarter notes (beats) per measure. When you are learning the tunes, count one-two-three-four for the quarter notes in every measure and tap your foot on each count. Play these quarter notes on the open Gstring:Ii tr r r r one taptwo tapthree tapfour tapI! 1 one taptwo tapr r three tapIfour tap3/4 Tune Willow Garden and AD the Good Times Are Past and Gone are the two tunes I mentioned that are not in 4141 time. They are in 3/4 or "waltz" time. In 3/4 time there are three beats or quarter notes per measure. Be sure to count and play evenly at a moderate pace so that all the notes are of the same length and there are no pauses between measures. Anote that lasts for only half a beat is called an eighth note, so two of them are eqUivalent to one quarter note. If you count one-and-two-and-three-and-four-and for each measure, you are counting eighth notes. On

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