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I 2 GO]ITEST.TfIIIIT{T{GARRA]I EM N
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FLATPIGKING
OT
Cherry
LaneMusic
Company
Director f Publ icat ions/Projectdi tor:Mark
Phi l l ips
r s B N , 5 ? 5 b u7 r a 3
Copyright
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lectronic,
echanical ,
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ecordingr otherwise,
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T'irN\tu
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CONTENTS
Introduction
Acknowledgments
Performance
otes
Alabamaubilee
Angeline
he
Baker
Beaumont
ag
BillGheatham
Blackberry
lossom
Gluck ldHen
Ragtime
nnie
Red
Haired
oy
St.
Annens
eel
Whiskey
efore
reakfast
Guitar
Notation
egend
4
4
5
I
l4
23
29
36
42
48
54
59
65
70
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CD
TRACl(
LISTTNG
Alabamaubilee
GluckOld
Hen
1.FullPerformance
14.FullPerformance
2. Play-Along hythmGuitar
rack
15.Play-Along hythmGuitar
rack
3. Slowed-Down
lay-Along
16.Slowed-Down
lay-Along
ArgelineheBaker Ragtimennie
4.
Solo
erformance
17.FullPerformance
18.Play-Along
hythm
uitar
rack
Beaumont
Rag
19'Slowed-Downlay-Along
5.
FullPerformance
6.
Play-Alonghythm uitar
rack Red
Haircd BOy
7. Slowed-Downlay-Along 20.FullPerformance
21.
Play-Alonghythm uitar
rack
Bill Gheatham
22.Slowed-Down
lay-Along
8.
FullPerformance
9.
Play-Alonghythm uitar
rack St.
AnnetSReel
10.Slowed-Down
lay-Along
23.FullPerformance
24.Play-Alonghythm uitar
rack
BlackberryBlossom
25.Slowed-Downlay-Along
11.FullPerfurmance
12.Play-Along
hythm
uitar
rack
WhiskeyBeforc
Breakfast
13.
Slowed-Down
lay-Along
26.FullPeformance
27.
Play-Alonghythm uitar
rack
28.
Slowed-Down
lay-Along
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I]ITRODUGTION
This book is
the
restr l t of
reqtrests ronr
sui tar ists
r,vhclwant to learn nlv contest
arrangelnents.
All these
tunes zrncl
nrrangernents hav e been trsed bl'rne tcr
udn l'arious
trilditionarl
nrrrsic
grritar
cortrltetitions
throtrqhorr t the Ur-r i tecl tates.Sorrreof ' the contests I
have rvot-r vith
these tunes are the 2003 Sotrtl-r
( larcr l ina
State Flatpickinq
Chanrpionships, the 2002
Natior-ral
Flirtpickins
(lharnpior-rships
(\\' infielcl,
Kansas), the
2002
Doc
\\ 'utson Clt r i tar
l i rampionships
at
N{erlef'cst,
he
2002
f}al:rx
Olcl
Ficlcller-'s
(krnvent ion,
the
1999 \A'avne
1.
Henclersol l
Grr i tar
Charnpionsl-rips
(Rugbr'.
\ ' ireir-ria), ancl rnaltv other
contests
helcl
in
Vireinia, Nclr th
( larol in i r ,
Terrnessee,
and South flarolir-ra.
In
arranginu
these
tunes I
t r iccl to
nraintar in
hc'
rnelodv
ztncl
preserve
the florv,
blrt
at the
sanle tinre
I
tr iecl to ttse
AS
nAn\1
qttitAL
tricks"
as possible. To this
end, rvhen I
arrangu ir. une, I first
leanr
the
rnelodt'
in
as
manv
locatior-rson
the
neck of ther gtritar
as
possible.
I
zr lso ind as
lni lnv
vcrsions
of ' the
tr rncs
as I
can. Ancl I
get
ideas f rc lnr
other
instr t rments;
i r ]
f i rct ,
I
strive to
n()t
l isten to
grritar
versions
so
that
I
r'r,il l
no t
sound l ike
any otl-rer
srritarist.
I also
lclok
for
lvh:rt
I
call the
"skeletorl"
of the
ttrne;
in other
rvorcls,
holr,
man,v of
the notes
ir-r
he rnelodv czrn leave out :rncl
still
recostrize
it.?
Or-rcc harve
brrncl
the basic
skeleton of'the rnelodv itr-rcl
he
locution
of tl-rosc:
notes, I
beein looking
fclr
places
rvherer can
insert
gtr i tar
t r icks:
sl ides,
harnrner-orrs,
prr l l -of l is,
ends,
open
str ing/ f ret tecl
note
combinat ions, chromat ic
ideas, nten,al l ic
phrascs, harrnonics,
etc.
There
is
:rn
endless catalog of
mtrsical
ideas that
are specific
to
thc guitzrr, and
votr
shr>trlcl e familiar rvith all of
thenr .
All these irrrangclnents are r,l,ithin the reach <l f
nrost interrnecliatc
irnd aclvanced pl:u'ers, but
beginning st t tc let t ts, oc) ,
shotr ld
be able
gain
a
lot of
virlu:rble experience by stuclying them. The
cliffictrlt
sections
cnn be
masterc'd
if
,votr
zrke hern one
phrase-or c\'( ' l l orte
note-at
a time. The tempos
inclicatiol 'rs
are
a
guide,
as these arr2ulgements l'r,ork
rvell
zrtbotl-r
slorv and
last
terlpos. Tl-re main
thing
to
strir,e
for
is rntrsicarlity.
My
seneral
rtrle reqar-cling
pick
direction
is
that
I
trse clou'nstrokes on
the: stl-ong
part
of
the
beat ancl
upstr()kes orr the n,eak
part. \A'ith
triplets, I
sonretirrres
brcak this nrle
by
startir-rg
with
an
upstroke;
in
other lvorcls, rvhen you
har,e
two eighth
notes, thc
first
gets
the
drlrvnstroke
arrd
the second
thc t rpstroke.
I r - r 16th
note
grouping, the
f i rst notc '
gets
a clou'nst r-oke, he
second an trpstr-oke, he third
zrdor'r'nstroke,and the fotrrth
an
upstroke
.
Bv
firllou,ins
this
rtrle
and
observing
the location of the
note
rvithin the beat,
your
pick
rvill always
be
movins
in
thc
correct
direction.
Syncopations,
holvever,
rniqht
have
vou
pickinq consectrtive upstrokes or
dcllvnstr 'okcs.
(l.oocl
uck, and
I hclpe
you enjol'learning thesc-
afral tgernents.
-Sccltt
Fore
AGKNOWLEDGMENTS
I 'cl l ike
to
th:rnk:
M,v
sons, Carsor-r ,
r rst in,
and
Alex,
fbr
love and
encor lragcment, zrncl
or- te ing
srrch
gr-eat
ons.
I
couldn't irsk frrr finel s()lls
rnd
fincr
people tcl be
arotrnd.
My mom and clacl or things too numerous to
rnent ion.
My, brother
and sister br
years
of 'encourergernelr t
and
fclr
:rlrvays
ell inq
nre
that
I
cclrr lcl
clo
it .
Chelvl
Ltrnsf<rrd fcrl love
and strppor-t.
Thanks
arls<r
for helpi t rq
me hone these
arransements and
for
encouraginu rne
to push ber,clncl
norntal lirnits.
(larson
Coopcr
for al l 'avs
prrshing
lle
to u'ork
harcler
ol'r rr]\ ' rieht-hancl
techniqrre
ancl f<rr
inaclver tent lv
brcine nre
t( )
keep st l iv ing
to plav
u' i th
more
authoritv.
Rick It-ajnvak
at Real2Reel for helpine rne recorcl
the t t rnes on the CD in his incrccl ib le studio. and for-
frienclship.
Lotr Roten,
El len Tai t ,
ancl Clhr is
Nl ic lc latrgir
t
Schertler for
the
grezrtest
picktrps
ancl speakers.
Thev
help me
t-o
alu'avs
souncl
goocl
rvhen
"pltrggecl
in."
l )ana
Botrrseois, Bonni
Llovcl ,John Thigpen, : rncl
4
all of'the fine folks :rt
Pantheon/Bourgeois
guitars
for
btr i lc l inq some of the best
gui tars
fbund
&r111vls.e.Bourseois
guiterrs
bring orrt
the best
in
nrv
plavine
ancl
creativi$:
Steve Mcflreary at Collings for supportin g the
\\'alr-rtrt \hlley Festir,al and for btrilcling fine
instr t r rnents.
Mike
Lille ancl
Elixcr
strinp;s
or
the
great
Ni.rnon,ebs.
excltrsivelv trse
Elixer Nanort'ebs string.s
on all
nry
guitars.
G'r'eut
clne and
feel from
the
tirne
thev
are
put
on the
stritar.
No waiting for the strings
to break in.
\\':n'ne Flenderson
in
Rtreby,
\rirginia,
for
buildinq
s()nre
ine
instnlrncnts,
irnd
fbr
sorne fine
guitar
picking. I
f 'ecl ncr-edibl t ' fbr t t rnate
to have the
()ppol'trrnitv
to
learn fr-onr
great
plavers and builders
likc
\A'al'ne.
All the fine r-ntrsicians rorn rvhonl I've had the
pleastr re o
"borrorv"
gtr i t : r r
techniques.
The l ist is
t rerr re
<lorrslv
r lng.
\A'avne Dunfcrrd at
FcltoExpo
in
Christiansburg,
\tirgir-ria.
A'a1'1.'t
a
gl'eat
friend,
photographer,
artist,
and rnrrsic ian.
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PERFORMANGEOTES
ALABAMA
JUBILEE
This
tune, along with
"Ragtime
Annie,"
is
one that
I
can alrvays
count on to
place rne in competitions. I trse everv
technique except
harmonics in
this
arransement. I
also normally
plav
this tune at a
ternpo of 140+
rvhen
I
compete.
This is
probablv the
most
challengins arransement
in
the book.
It requires
you
to
have
a
highly
developed
right-
hand
technique, especially rvhen
playing
at the faster
tempos, but i t
also
rvorks
well at slorver
temp()s.
The
song kicks off
r,vith
he
ttrmarotrnd
and
soes
straigl-rt
o the
melodl ' .
The first section
is
straiehtforlvard,
and it is not until
vou
get
to the
second
break that th ings get
harder. The
second
break is crosspickecl
and there
is
a
lot of
string
skipping-let the strings ring
as
long as
possible to
give a
fuller
sound.
The
lick at
rneasure
28
is
an
intervall ic
type of
l ick. I
borrorvecl the
idea from.lazz
saxophonists. The main
thing to
remember,
as
for
al l
these
arransenlents,
is
to
play
from
chord
positions.
The
third
section begins at
rneasure
38 and
is
straightforward. Pay
attention to the
recording
to
ge t
the feel
of the double stops at
measures 42, 49,
50,
51,
anc l 52.
Listen
to the
recording
to
get
the accents.
ANGELINE THE BAKER
The Intro is
somethine
I
came up with
rvhile sittinq at a
friend's hotrse-I
thought it soundecl like a
frasment
of the
rnelody. It is
also a rvay of
starting
the tune without
resortins
to the standard
"breakdolvn"
type of
Intro.
The arrangement
is fairlv
straightforward. Try
to
maintain
the
florv of
the
melocly since this is a solo. You will note that there is
not
a rhythm
track
for
this tune.
The first
tricky licks
come
in measures
35 ancl 39.
After
the
initial
bend, rake
your pick
back across the
strings fretted
at the 7th
fret. This lick is
derir,,ed
from
piano players and guitarists
l ike
Jerry
Reecl
and
Jim
Flurst,
and I use d it a lot when I
played
electric
guitar
in
country bands in the
'80s
and
'90s.
The
section beginning
rvith
measure 41 is reminiscent
of
Chuck Berry's licks
or those of
R&B
gtritarists of the
'60s.
Measure 49
makes me think of a
loose
Steven
Stills-type
groo\re.
Play
this section
loosely
and don't
pay too much attention to the open strings; yorlr
focus
should be on the fretted notes. Tr),to keep the
dropped D ringing
as much as
possible
to fill out the
sound. There is
a
lot
of crosspicking
in
this
arrangement,
and
it
will
reveal
any weaknesses
n
your
riqht-hancl
technique.
The
song
fir-rishes
he rvay
t
begins, rvith the
openine chordal strtrcture.
You
should try to
imitate'
the
sound
of
a sl ide
suitar
in
the
final chord of
tl-resong.
As in
all the songs,
l isten
to the
recorcling
to get
the accents.
n
al l these transcr ipt ions, the accents
s( ' l
the
notes
apart
fiom-just
a steady string ol
l6th
rt()t('\
I)on't let
the tab scare you, b ecause this
arrangelnent
is really
one of the easier
ones. Tlrc
secret to thi s tune is to keep
the open
D ancl
A
str inqs
r inginq in
a
"drone- l ike"
fashion. This hcl1r .
f i l l out
the single-note
melody' l ine. As
rvi th
ar l l
of ' t l r t '
arrangements in this book,
play otrt of
the cholrl
positions-this will
rnake
the arrangements
finscr'
rnore easilv.
BEAUMONT RAG
This is
another arrangenrcnt t l i : r t
r :
fa i r ly
simple to plal ' .
The thir )s t ()
kt ' t '1r
in
rnind
is
to
keep
the
f lorv
uoing.
There is
a
lo t
o f c rossp ick ing
r r t l r i .
arrangement.
As
rvi th al l crosspicking,
\ 'orr r ) t ' t ' r l 1, ,
f inc l the chord shape and ho ld dou ' r - t : r l l h r '1 '11v11 ' : . l
the chord.
In
other words, don ' t
reac l
l tc
ta l r
or r t '
note at a t ime, but in
eroupings
of notes.
F()r '
example,
in
the G7 chord
in me asure 1 fJ .
o t t
l r , l r i
dorvn the F note
at the
3rd f ret for t l - re
rr l l r r r t ' r r \ur( '
r , lh i le he o ther
notes move
arot rnd
i t . [ . i s tcr r o
t l r t '
record ing for
the accents
n
the crossp ickec l
r ' r
i , ,n -
Accents help
br ing out a
rnelody
lvhen
crosslr ic 'k i r r ,g.
Be carefirl to
let
all the notes
ring
as
lons u:
possible
for
the
"f loat ing
notes"
sect ion
begir rnir r ,g
t t
nreasure
34.
"Float ing
notes"
are combinat iorrs
oI
open str inss and fret ted notes; the
r ineing ol) ( 'n
strings produce a
harp-like
sound.
One of the toughest parts of the sons is the
diminished
rtrn in meastrre
38;
you
can
loclk I irr '
other
fineerings
to
make
this
run
easier,
but
I'r
c
tabbed
it
the
rvay I
play
it .
Meastrres
50 throush 53 should be crosspicker l .
Look
at the
finger
groupings
in
each
measrlre, uncl
just
slicle them down the neck; then
plav
measru'('
54 as a tremolo. It's fairly tough to
go
from the
crosspicking
in lneasrlre
53 to the trernolo
in 5-1arrrl
rnaintain
timing.
As
with all the songs, work u'ith
a
metronome set
to a slorv tempo, and rvo rk trp
to a
fast
tempo.
The encling tag in the last three measures can bc '
plaved
rvithout
accompaniment.
Again, as
n'ith all the sonss,
l isten
to the
recordirrg
to
get
an idea of
the accents.
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BILL
CHEATHAM
This
arrangement
is
fairly
straightforward
and shouldn't
pose
many
problems.
t
opens with a statement
of the basic
melody. In measure
19 I
begin
a break
using
"floating"
pelss-you
should
strive o
keep the
strings
ringing
as
ong as
possible
o achieve
he
"floating"sound. n measures 1, 63, and 65 the
slashes
ndicate
that that
section
s
to be
played
using
tremolo or very
fast strumming. Giving
the notes their
full
valueswill
help
with the
flow of this and
al l
arrangements
n
this book.
The
thing to
keep in mind is that,
in
all the
sections, ou should maintain chord
shapeswherever
possible;
doing so will
help keep notes
ringing
and
help fi l l
out the song.
The
trickiest part of the song
occurs
n measures
5l-58, where
I
play the tune
using
harmonics.
Harmonics are representecl y diamond-shaped
notes and are
played
by
lightly
touching
a string
directly over top of the
fret indicatecl
n
the tab.
Trying
to
make
these
harmonics
oud
and clear
s
diff icult at the faster empos at which
this
piece
s
normally
played.
The
song
is fairly straightforward
after this
point.
Again, listen
to the
recording to
get
an
idea of the
accents.
BLACKBERRY BLOSSOM
This arrangement begins
with the basic
melody, which
is
augmented
only slightly
in measures6 and 7.
Pay attention to the
record.ing o
get
the
feel
of the
"B"
section
beginning at
measure
10. n measure18, the
open G string allowsyou
to move up the
neck
without
breaking the
flow
of the tune.
This
is
a trick
used by
lots of
guitarists.
The open string
rings
while
the
hand is
changing positions.
The
"floating"
section, which begins
at
measure
34, s playedby holding the chord shapeand sl iding
it
down the
neck
while allowing
the open
strings
to
ring.
Measures44
and
45
should be played
as one
long
run
to
maintain
the
flow. Let the
notes ring into each
other to achieve hat
"floating"
sound.
The
ending, which begins with
the
last measureof
the
"B"
section,
s
played as
one
long
grouping.
This is
one of the
most oft en-played tunes
in the
fiddle
tune
repertoire,
and the
first
tune
I
learned
many
years
ago.
CLUCK
OLD
HEN
"Cluck
Old
Hen" is an old-time
modal
tune with both a
major and
minor feel.
I t 's
good
for lea rning to use the
pentatonic
scale to
improvise. It's
similar to such
tunes as
"Big
Mon,"
"Wheel
Hoss,"
and others
that Lrsea
flat-7th chord.
The bends can be played, alternatively, using sl ides
or
"hammer-ons."
As in
all the tunes
in this book,
le t
the notes ring
for
their
ful l values.
Listen to the
recording
to get
an
idea
of the
exact rhythms.
Guitarists
familiar
with pentatonic
and
blues scales
will
find
this
arrangement very
"finser
friendly."
Improvising over this progression
is
easy when
using
the G blues scale
in its various
positions.
RAGTIME ANNIE
Pay attention to the
rhythmic
groupings
and
listen
to the
recording to get the
rhythmic nuances.
This is
a
dance tune
and,
as such, should be played
rvith
dancers
n mind. It needs a strong
right-hand
technique because
of the crosspicking
nvolved.
As
with all the tunes
n
this
book, you should
let the
notes ring for
their
full values,
f not longer, to
give
the song a
full sound.
This arrangement
s
a crosspicking
our de
force
and requires
right-hand
precision.
The
piece
can be
crosspickedusing
strict alternate
picking
or the
"DDU"
pattern
used by crosspic king
egendsGeorge
Shuffler andJames
Allen Shelton.
This
pattern
createsa slightly different
sound but also
makes
t
more
difficult
to achieve he
same speed hat
can be
obtained rvith alternate
picking.
Depending
on the
sound
I
want
to achieve, use
both
picking
patterns.
RED HAIRED BOY
This version
s ratherbasic nd should
be accessible
o all beginning
an d
intermediate guitarists-there
are
no
difficult techniques
used.
The last
section
s
played
mostly with hammer-ons
and
pull-
offs and serves
as a
good
exercise
or those
techniques.
The second break
is
played
mainly
around
the 7th
fret. For the Chorus
in
the
second
section, ry to think
like a mandolinist to get
the
feel
of the chordal
section and
play
t loosely.Listen to
the
recording to
get
the accents.
The section beginning at measure65 may be
challenging
for
some guitarists,
as
t
contains
numerous
hammer-onsand
pull-offs.
The challenge
is to maintai n the volume
of the slurred
notes.With
pull-offs
this can
be achieved only through proper
technique; that
is,
pull
and
lift rather than
simply
ift.
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ST.
ANNE'S
REEL
This
tune
is
very accessible
to beginning
students. The first
section
is
playecl
slowly. Listen
to the
recording
to get an
idea of
the
f'eel. Pay
particulai attention
to pitch
when bending
the
lst
strins at lneasure
5.
At measure
10,
the song begins at
the
indicated
tempo, and the rhythm track begins here. This
arrangement
is fair ly
basic unti l
you get to the
second
section beginning
at
measure 43.
The
triplets
are
played usins
the hammer-on,
pull-off technique.
The
triplet in measrlre
58 is
play'ed using
pull-offs.
The
"B"
section is
played using
the
"floating"
chord
shapes
approach. These
chords
move
around
a
lot;
practice slowly
to
get
the notes to ring
out clearly.
For
all
crosspicked
tunes,
pay attention to the
accents
to
bring out the melody.
This
tune
is
played out of chord shapes,
some of
which may
be unfamiliar. The key
to making
this
arrangement sound smooth is to find those shapes
and
hold
them down.
Listen
to
the
recording
to
get
an
idea
of where the
accents
fall .
WHISKEY
BEFORE
BREAKFAST
Your
guitar should be in drop-D
tuning
for
this arrangement.
Normally this song begins with a
pickup
(one
or more notes
immediately
before a
ba r
l ine
that
begin
a
melody
or
phrase).
But I have
no t
used
one
here.
The first
two
bars of the song
and
most
of the
melody
are scalar in
structlrre. The first
break is
played
mainly
from
first
position open chord
scale
forms.
I've
stayed
with the melody,
and any
deviations
are
diatonic in nature
(all
the notes
are
contained
within
the
key).
The
sl ide
in measure
21
does not
originate from
any
particular
note,
although
I normally
slide from
the D at the
3rd
fret.
I 've inserted
two endings for the first
break to
demonstrate
two
possible ways to
end one break and
lead into
another.
The first
takes you back to
the
first
note
of measure 1,
while
the second
leads into
th e
second
break-you
can use either ending,
depending
on
the arrangement
you want to use. The 32nd note
figure
at the
end of ending I
would be considered
a
pickup figure.
Most fiddle
tunes
end on the
first
nore
of the final measure
or the thircl note of
the
final
measure
of
the break, which leaves
one or
two beats
for
the
pickup.
If
you
are in ajam
situation and
want
to use
one of these
breaks,
you
can
use a
pickup
or
just
begin
on beat 1
of the break.
The
second
break
begins at measure 35. Its first
section,
which runs
to measure
50,
is
played
in 7th
position. The
second section
of this break, which
starts
at measure
52,
begins
in 1Oth
position.
Measures
54 and 55 are
played
using harmonics.
Measure
56 begins a sequence
of descending 6th
intervals-1hs1,
nrove
diatonically
down the
fretboard. The
section then repeats.
The
third break begins at measure
68 and is basecl
on the open string
sound called
"floating."
I've
indicated
that you should let
the strings ring into
one another. This section is easier i f you notice the
note
groupings and
play as if
you are
holding
chorcls
or chord fragments.
The
'oB"
section of this break
should be
played
in
a similar fashion. Let
all the
notes ring
for their full
values.
Note
that
measures
100-104
are a Tag to
provide
an ending for
the song.
I 've
stayed close
to the melody in
this arrangeltre
lt
and
used
predominately
notes
contained
within
th c
D major
scale. I 've
done this
to show the enorrlorrs
possibilities that are contained
within a scale.
Yotr
cun
use
rhythmic
variety
to add interest,
as well as strch
guitar tricks as harmonics, "f loating" notes, and sltrrs
(hammer-ons,
pull-offs, and slides),
but there are
many other
possibi l i t ies as well.
You
can use
pedal
tones and
play
the
melody
against
these.
You
can
even
play the melody
using
harmonic
interr.,als trch
as 3rds, 4ths,
5ths, octaves,
etc.
An interesting
ancl
challenging exercise is
to take every
other
note iu)(l
raise
or lower it
an octave.
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ALABAMAJUBILEE
Moderate ly fast .=136
N.C.
Words by
Jack
Yellen
Music by George Cobb
C
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L,
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2004
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MusicCompany
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Dnr(rnaj7)
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Dm(maj7)
3 l c
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Dm(maj7)
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ANGELINE
THE
BAKER
Drop
D tuning:
(low
to
high)
D-A-D-G-B-E
ModeratelY
=
106
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.t r
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2004
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BEAUMONT
RAG
Traditional
Moderatety
J
=
115
C
This
Arrangement
2,OO
herry
ane
Music
Company
International
opyright
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All
Rights
eserveO'
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25
Dt-
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35c
3 7 C
pfo
4 5 :
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C
tb
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63c
65
D]
N.C.
G 7 C
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BILL
CHEATHAM
Capo
I
Traditional
This Arrangement
@
2OO4
herryLane Music
Company
Internat ional
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29
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ffi.
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2 5 G
. J
, 3 ,
-t
2 9 G
7/25/2019 Flatpicking Solos
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l - l " J '
' - i " j '
7/25/2019 Flatpicking Solos
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r_j
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L J J
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6 5 G
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G
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BLACKBERRY
LOSSOM
Moderately
=
118
N.C.
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u
4
r
Traditional
6
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Arrange.ment
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ane
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t 3c
T 7 C
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23c
33c
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35c
31
c
45
,-C
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49c
5 l
c
53c
55c
57c
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'.-__A
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CLUCK OLD
HEN
Moderatelv )
=
ll2
Traditional
G
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aneMusic
Company
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opyright
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-tt1
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==f,+
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sbp
b
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7/25/2019 Flatpicking Solos
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C
r--J
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b2
G
AI
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-
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G
65
6 7 G
6 9 G
7 t G
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RAGTIME
ANNIE
Traditional
Capo
I
ModeratelyJ
=
118
N.C.
-l
This Arrangement@
2004
Cherry
Lane
Music
Company
Internat ional opyr ight
Secured
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Rights
Reserved
t ,
J
48
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3 3 G
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RED
HAIRED
BOY
Old
Time
Fiddle
Tune
Capo
Il
Moderately
"
=
104
G
This
A.rrangement
2004Cherry
aneMusic
Company
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D G
2 3 G
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61
c
1 l
G
.J
--{
---
75c
l g G
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82c
9 t G
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ST.
ANNE'S
REEL
Traditional Celtic
Folksong
Capo
I
Freely a
=
ll 2
Atempo
= l l 2
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2004
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aneMusicCompany
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32
Dm 7
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64
Dn.r7
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WFIISKEY
BEFORE
BREAKFAST
Drop D tuning:
( low
to
high)D-A-D-G-B-E
Moderately
,
=
110
N.C.
Old Time
+ / .
Drcf}
DFf.
DFf,
DFfr
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2004
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Lane MusicCompany
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ryc#
Pitch:
G
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Drc|
= = =
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Here,or
he irstime
n
print,
re
he
hampionshiplatpicking
arrangementshat
ave on
Scott
ore
umerous
ational
competitions.he ccompanyingD ontainsull-lengthecordings
of
each f
Scott's
rrangements,
layed
y
Scott
imself,
s
well
as
play-along
hythm
racks,
oth t empo
nd lowed
own.
Scott
ore's any
ontestictories
nclude
the
South arolina
tate latpicking
hampionships
2003),
theNational
latpicking
hampionships
2002),
heDocWatson
uitar
Championships2002),heGalax ld iddler'sonvention2002),
andhe
Wayne
.
Henderson
hampionships
1999),
e
eaches
flatpicking
aster
lasses
hroughout
he
Unitedtates.
Hehas ecorded
self-titled
oloCD.
Alabamaubilee
Angeline
he
Baker
Beaumontag
Bill
Cheatham
Blackberrylossom
Cluck
ldHen
Ragtime
nnie
Red airedoy
St.Anne's eel
Whiskey
efore
reakfast
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Here,or he irstime
n
print,
re
he
hampionship
latpicking
arrangements
hat
ave on
Scott
ore umerous
ational
competitions.he ccompanyingD ontainsull-lengthecordings
of
each
fScott'srrangements,
layed
yScott
imself,
s
well
as
play-along
hythm
racks,oth t
empo nd lowedown.
Scott
ore's
any
ontest
ictories
nclude
the
South arolina
tate
latpickinghampionships
2003),
theNational latpicking
hampionships
2002),
heDoc
Watson
uitar
Championships2002),thealax ld iddler'sonvention2002),
andhe
Wayne
.
Henderson
hampionships
1999).
e eaches
flatpickingaster
lasses
hroughoutheUnitedtates.
He
has ecorded
self-titledolo
CD.
Alabamaubilee
Angelinehe
Baker
Beaumont
ag
Bill
Cheatham
Blackberry
lossom
Cluck ld
Hen
Ragtime
nnie
RedHairedoy
St.
Anne's
eel
Whiskey efore
reakfast