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Angeline the Baker
Key of D
Virtual slow jam with the melody played on guitar the first and last time around. The rest of the video is for you to play over on whatever instrument you have laying around.
The tab includes the guitar arrangement I play in this video.
Tab in PDF and TablEdit formats - $6.00
Cripple Creek
Key of A
Capo 2nd
Somewhere between Bluegrass and Old-Time is how I like to play fiddle tunes on guitar. Sure I may be playing a Santa Cruz Tony Rice model, in this video, but I relate more to Norman Blake and a laid back approach.
The intention of this video is to show you how to shape a basic melody into a lead line. More importantly it demonstrates that rhythm playing is equally important and doesn’t always have to be robotic strumming.
Another important element is to play with a bowing type pulse to give the music a lilt. After all fiddle tunes are traditionally played at dances.
Tab in PDF and TablEdit formats - $6.00
Here are 12 variations of the classic Lester Flatt run also known as the G-Run. It’s a snappy tag lick that usually happens over a G chord but can be transcribed into any key.
There is no end to the possible variations but I figured 12 was a good starting point. Six in the key of G, three in C and three more in D.
In this video we’ll take a look at harmonizing a C major scale on the guitar. It’s quite simple to do. First figure out the notes of the C major scale (C-D-E-F-G-A-B-C). On piano this is all seven of the white keys.
Next you’re going to build a 7th chord for each note in the scale using only the notes from the scale. You build a 7th chord by using every other note.
For example starting on the 1st degree of the scale, which is C in this case, you would use the 1st, 3rd, 5th & 7th degrees of the scale C-E-G-B (Cmaj7).
Repeat the process on the remaining notes: D-F-A-C (Dm7). When you run out of notes you just continue using the same order. So the third group of notes would be E-G-B-D (Em7).
This is the first step toward understanding the seven modes of the major scale.
Sally Goodin
Key of A,
Capo 2nd.
Tab in PDF and TablEdit formats - $6.00
Here is a fine example of crosspicking in the tradition of George Shuffler who played with The Stanley Brothers back in the day.
I transcribed this solo from a 1977 live performance of Ralph Stanley & The Clinch Mountain Boys. You can view the original concert video here.
The guitar player is Troy ‘Renfro’ Profitt and he does a brilliant job of sticking to the melody while rolling that syncopated crosspicking throughout. The predominent picking pattern is Down-Up-Up.
Tab in PDF and TablEdit formats - $6.00
Beaumont Rag, what is there to say? It’s a timeless classic from deep in the heart of Texas. A consummate standard played by Doc, Clarence & Tony to name a few.
My arrangement is played out of the C position capoed at the 2nd fret for the key of D. The crosspicking sections can be played with the DDU pattern but I generally incorporate alternate picking.
Tab in PDF and TablEdit formats - $6.00
This is my rendition of the classic tune from the movie “Deliverance”.
Key of A, capo 2nd fret.
Tab for this tune includes the entire banjo & guitar parts.
Tab in PDF and TablEdit formats - $6.00
Whiskey Before Breakfast is a must know tune regardless of what instrument you play. While some pickers play it in standard D position with no capo, I prefer the sound of it in the C position with the capo at the second fret.
Key of D, Capo 2nd Fret
Tab in PDF and TablEdit formats - $6.00
Crosspicking is basically the technique of using a flatpick to simulate the fluid sound of finger-picking. It’s most commonly associated with Bluegrass guitar and mandolin players.
The effect is a rolling syncopated sound similar to Scruggs style banjo playing and just like three finger banjo rolls, crosspicking is based on three note phrases played across multiple strings with a four beat pulse.
There are three fundamental patterns or rolls.
The first is alternate picking or down-up-down (DUD) – This is the equivalent to the Square or Double Thumb banjo roll.
The second is down-down-up (DDU) – This is basically a forward roll
And the third is down-up-up (DUU) – Which is like a backward roll
Once you become familiar with these three patterns you’ll start mixing them up in order to fit them into four beat measures. The ultimate goal is to accent melody notes so they stand out among the array of filler notes.
To hear classic examples of crosspicking check out Jesse McReynolds’ mandolin playing with Jim & Jesse, George Shuffler’s guitar playing with the Stanley Brothers or just about anything from Doc Watson, Clarence White or Norman Blake.
The following videos demonstrate the three fundamental patterns and give you some ideas of how to use them along with open string drones, harmonized scales and double-stops.
Tab in PDF and TablEdit formats - $6.00
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