Professional Documents
Culture Documents
1 Fingerstyle
1 Fingerstyle
Issue No. 1
Contents
Features
19
18
13
12
Departments
Introduction
Artist Profiles
98
35
58
Simon Fox
Master
Workshops
Adam Rafferty
Eric Frederickson
I Hear a Bird
Tim Farrell
Tom Pender
31
37
47
41
Sunrise Guitar
52
Metro Blues
55
Bill Piburn
Artist Profiles
Adam Rafferty was born and
raised in Harlem. He began playing blues guitar at age six, got
mugged in front of his building at
ten, played in a rock band at
twelve, was ripped off by a club
owner on his first gig at fifteen
and by eighteen he was a rapper
on a gold record overseas. Yes,
Adam has led a life of a musician
since his earliest days on planet earth. By twenty he was playing in an after-hours joint in Harlem on 137th and Adam
Clayton Boulevard where the bandleader regularly drank himself into oblivion and threatened customers with a knife. Adam
has certainly paid his dues. From playing in the New York City
subway to concert halls throughout Europe, Adam has traveled a long and interesting journey.
Today Adam is playing solo acoustic guitar and making his
name known and respected around the world. His plays on
YouTube number in the millions and in recent times, he has
toured with Tommy Emmanuel. He is also a regular performer
at festivals in Bangkok, Helsinki, Germany, and the United
States.
I am so grateful for all the opportunities I have had and
continue to have. I am also thankful for the hardships.
Adam Rafferty
www.adamrafferty.com
Musically, W.C. was first drawn to the guitar and saved for his first
instrument by picking berries and making lye soap. W.C. brought home
the guitar much to the dismay of his father who ordered the instrument out of the house asking, What possessed you to bring a sinful
thing like this into our Christian home? His father soon enrolled him
into organ lessons that were short-lived, and he moved onto learning
the cornet at a local barbershop.
W.C. toiled in a variety of manual labor jobs and eventually was hired
to teach at AAMC in Normal, Alabama. Today the school is named
Alabama Agricultural and Mechanical University. Along with Tuskegee
Institute, AAMC was one of only two black colleges in Alabama at the
time. Handy taught music there from 1900 to 1902. Disheartened that
the school downplayed the importance of American music and emphasized European classical music, he left the school to rejoin with the
Mahara Minstrels and toured the Midwest. In 1903, W.C. was offered a
position to direct a black band named the Knights of Pythias, located in
Clarksdale, Mississippi. He remained there until 1909, when he moved
his band to Memphis, Tennessee. The band was soon making a name
on Beale Avenue. Its interesting to note that city leaders were forced
to change the name of Beale Avenue to Beale Street when Handys
Beale Street Blues became so popular.
W.C. Handy went on to become a successful music publisher and composer while in Memphis. His most famous composition, Saint Louis
Blues, was written in 1914. Bessie Smiths 1925 Columbia version with
Louis Armstrong is considered to be one of the most famous recordings in American history.
W.C. Handy truly lived an American dream while overcoming the hardships of his personal life and the extreme racism of his day. From the
seed of slavery, he honored his bloodline and rose to become an
American icon. We need not ever forget William Christopher Handy.
In closing, I hope you enjoy playing my arrangement of Saint Louis
Blues. Its a classic that will serve you well on your next gig.
Bill Piburn
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Keith Medle
ey
ing
design and construction of his twenty-sevenstring guitar has opened a world of musical
By Bill Piburn
14
Yes, I learned a lot from him. Most importantly, I learned to keep my hands away from
sharp moving objects! (Laughter)
Did you learn to measure twice, cut once?
Absolutely! (Laughter) My dad gave me permission and he included me. He never said,
Hey boy, let me do that.
He made it a lesson.
Well, you can field dress a deer, come back in, and
rough out a neck! (Laughter)
Since you came to building through repair, I would
think it may have been an advantage seeing many
different problems.
Yeah, that may be true. You can formulate a pattern when building and repeat it every time. When
you are dealing with repairs, often you are improvising. If you have three acoustic guitars that all
are in need of a neck set, you are really dealing
with three different dynamics.
Since you have the ability to build, are you often
tempted to start a new project?
Yes, all the time. I have two or three going right
now.
Its what I hear that drives the build. Its not
because I just want to add more strings. Im looking for options that will allow me to play what I
hear.
The 27-string has gaps between low G and D, the two lowest
strings. Im going to fill that in with E F#. I also want to add
Bb between the A and B on the bass side. Im going to end up
with 33 strings. It will have a wider range on the high end as
well. Right now the highest string is B. Im going to add three
more strings on the top side and take it up to an E two octaves
above an open E on a standard guitar. In others words E at the
24th fret. The added strings on the top will be C#, D and E. The
C# could also be tuned to C of course.
What is the lowest note?
Its very personal. Most of it arrives as a backdrop of life experience. I compose as those moments show up. I have discovered that my emotions in those moments are common to most
folks love, loss, fear, joy, nature and relationships.
I draw inspiration from moments of surprise, a moment of
clarity or being moved when I observe struggle and triumph.
As far as genre, I will leave that to the critics.
continued...
16
Im currently
working on a
composition
that has me
enthralled by a
coastal town in
the Ukraine. A
fan sent pictures
of his hometown
with a description
of the people who
live there. I could
hear the music as
the imagery began
to surface.
Do you consider the creative process of building and design to have a relationship to the creative process of music?
Indeed! However, the music comes first. The instrument follows. Music establishes a range; the instrument simply makes that range available and manageable.
Recently you received national and international attention that unfolded in a
matter of days. How did this happen?
17
My
nephew
contacted
the local
Fox station in
Owensboro,
Kentucky
and told
them
about the
Dry fitting the neck b
twentyseven string
guitar I built. They sent a reporter down on a Sunday
afternoon who interviewed me and had me play a little. I
really didnt think a lot about it. It aired that night, and
Yes, and if I would have known that, I would have worn a different shirt!
(Laughter)
Ricky Skaggs saw the video and sent a nice message. I think we are going to
meet for lunch sometime. I was also surprised that the actress Alyssa Milano
sent my video out to her followers on Twitter.
I am now trying to find a way to tour. I hope to take advantage of the recent
attention.
I wish you the best with your music.
Thanks,
its an
adventure.
For more
information
about
Keith
and/or the
Harp Guitar,
go to:
www.keithmedleymusic.com
California
Dreamin
B
20
Bill Cooley
George finally said that he had taught me all he could and suggested
a guy named Bill Thrasher. Bill Thrasher was a jazz guitar player
and a good friend of Joe Pass. He wrote the Joe Pass Guitar Style
bookyou know, the orange book with the line drawing of Joes
face on it. Back in the day it was considered the guitar bible. They
put Joes name on it; but Bill wrote the book. I was about college age
21
when I started taking lessons from Bill. Its safe to say that I would
not be making a living as a guitar player if I had not met Bill
Thrasher.
Did he open a lot of doors for you?
Time is an elastic
thing and has a
ahead or slightly
behind.
Before we talk about living in Nashville, let me ask you a little bit
about Merle Haggard. I remember you told me that he would often
play records for you and make comments about the music. Please tell
me about that and what it was like hangin out with him.
Gary Lumpkin also opened his house to me. I slept in his guest room
for another month and a half. It was about three months before I
was able to scrape together enough money to move my family here.
After they arrived, it was still a struggle. Luckily, I got the Reba gig.
Financially, it was just in time.
Jimmy is a very unique player isnt he?
Oh, yeah. It takes courage to decide you are not going to play all
styles. I am going to play this certain style. I am going to put my
energies into this and perfect this. It worked beautifully for him. It
is not always the best way to get work. It could backfire.
It worked because the group was successful.
continued...
22
Bill Cooley
Yeah. However, as a working musician you need to know many
styles. You have to think that way because you dont know what the
next gig is going to be. Jimmy just took his own thing and ran with
it.
I make my living as a sideman. You have to be versatile if you are
going to be a side man. If one thing dries up, you have to do something else. I dig deep for what I really want to say on my own
records; however, as a sideman, I pride myself for covering a lot of
ground. That suits me. I tend to get a little antsy if I continually play
the same thing. That is what attracted me to Kathy Matteas music. I
had my ear tuned to Kathy long before I worked for her. I could
sense that she had a wide range of musical interests.
was there; I did it all. I needed to let people know about me and to
hear me play.
I did that for a couple of months and began to get a few gigs around
town even though they didnt pay much. I started doing a
Wednesday night jam session at a place called Tracks. There was a
revolving cast of musicians who were in the band. Ray Flack was
one of them. We played together on any number of nights. There
were two guitar players, maybe two steel players, Bruce Bouton
and Bucky Baxter. Whoever heard of two Tele players and two steel
players? We just did it. Everybody got up on stage at the same time.
Reba McEntire was looking for a guitar player and Bruce Bouton
recommended me. Reba and her band was in
town that Wednesday night so they came out to
hear me. They didnt hire me that night; they just
came in and left. I thought that was the end of it,
but they called two or three days later and hired
me. They were already back out on the road
driving from Oklahoma to Pennsylvania. They
flew me to Cincinnati and picked me up. The next
night in Pittsburgh, we played in front of twenty
thousand people.
That is a quick introduction to the gig.
Before we get into the career with Kathy, lets go back to the sleep-onthe-floor days and hear how you got yourself started in Nashville.
I just got out every night and sat in anywhere they would have me. I
treated it like a job because my family was still in California. I was
motivated to get my name around quickly. There were clubs in
town where musicians would gather and jam until the wee hours. I
23
I sure do, for the rest of my life. That was her gift to me.
Yeah. We were at Douglas Corner playing a showcase one night and the next day he signed with
Arista Records. Im in a video that he did, but it was
a song that didnt go anywhere. It was called Blueblooded Woman and a Redneck Man. The next song
was Here in the Real World. Right about the time
he released that song, Kathy called and asked if I
would be interested in auditioning for her band. As I
said before, I was aware of her. I really liked her
voice and her choice of songs. I could tell that she
was very inquisitive musically. She called me personally to ask if I would audition and I jumped at
the chance.
Had she heard you somewhere?
That was in 98. Kathy wasnt real busy and I subbed for his guitarist. That ended up being five years of working with Hal when
Kathy wasnt busy. Kathy was always the primary gig. Hal would
hire me to go out when I was available.
One of the great things about working with Kathy is that, at this
point, she trusts me. She did a record a couple of years ago, Coal.
That record was developed from going over to her house and
researching songs. She would find the tunes she liked and I would
help her to make them her own. I would do some arranging, but
Kathy and I go back and forth with our ideas as we develop the
approach we want.
continued...
24
Bill Cooley
She doesnt write most of her material. Most of the songs she finds.
In that regard, I know what she is looking for. Together we find a
way to arrange the song so that its hers. Were getting ready to do
that same process for her next record. Weve had a few conversations and she is gathering material right now.
Is there a theme to that record?
Yeah, I think so. As she put it, the Coal record without the coal
theme.
You are probably getting up there with some of the longer gigs in
Nashville music history. I know there can be personality issues when
you are with a band for a long time.
It can happen. We were out on the road so much with Reba that we
saw more of each other than we saw our families. Luckily, we were
all very close. It was a family atmosphere. Those people are my
friends for life.
The average shelf life for a sideman is three years; Kathy and I have
been working together for twenty years. Its a special relationship.
Obviously, you have spent a lot of time with the people in Kathys band.
25
Right. Theyll want to hear some obscure album cut. When you stop
and think about the list of songs we both know and could actually
do a halfway decent job on, it is pretty considerable.
Since you are playing in this acoustic band, tell me how you handle
the amplification and how do you monitor the sound on stage? What
kind of gear do you carry?
It used to be, with an acoustic guitar, you would just plug into the
PA and it comes back through a wedge. I use L.R. Baggs pickup system. I first met Lloyd in 1991, the year after I joined Kathy. At the
time, he asked us to use a prototype called the Duet. It was a combination of an LB6, the bridge pickup and a mic inside the guitar
encased in foam. In 91, it was groundbreaking stuff to actually put
a mic inside a guitar. We loved them. Kathy and I put them in our
acoustic guitars and have been using them ever since. I had never
heard anything sound as good as those original Duets until this new
system, Anthem. It is a bridge pickup and a microphone that is
attached on a bridge plate inside the guitar. This system is the next
step forward. I have a prototype of it in my new Schenk guitar. You
can put an amazing amount of the mic into the blended signal without it feeding back.
Have you tested this out on the road?
Yes, I have. Not only that but, I am now playing it through his
acoustic amp, the L.R. Baggs Acoustic Reference Amplifier. There is
a regular wedge and the acoustic amp is tilted back and pointed at
me. This thing will give acoustic amps a good name. This one
sounds like a studio monitor. Im told the magic is in the speaker.
Lets talk about your new record The Return Journey. You have some
special tracks on there that you may want to talk about. I know that
Kathy appears on the record.
Yes, Kathy sings on the record. We did a cover of the old Elton John
song Madman Across the Water. This will tell you a lot about
Kathy. Madman Across the Water has always been my favorite
Elton John song and when I asked her about it she said she liked it
too. She said she used to have a boyfriend who was habitually late
and she used to play it on the piano while she waited on him. When
I asked her, she said she wouldnt do it until we talked about the
lyrics and what they mean. She has to find a way inside the lyrics.
We spent about an hour talking about the song. At the end of that
hour, she said okay. She didnt even hear the arrangement.
The string section on The Twilight Waltz is beautiful.
Youve worked in the studio enough to know when its music and not
math; when its your own project and you are the focus, thats even
more pressure. How do you get to that point when its about music
and not the math?
It was one of the first tunes I wrote for the album. When I finished
my last album, I thought I would immediately start on my next. I
made the conscious decision not to do that. I didnt think I would
have anything to say if I immediately started. I didnt write at all for
I wait for that feeling where the room disappears. Where you play
the song and when you finish you realize that you kind of left the
room. You dont even remember playing it. Its not always like that,
but I look for that feeling.
www.billcooleymusic.com
Groovy Guitar
Arranged by Bill Piburn
Groovy Guitar
15 Classic from the 1960s Arranged for Solo Fingerstyle Guitar
Daydream, Downtown, Happy Together, A Hard Days Night, Ill Never Fall In
Love Again, Last Train To Clarksville, Mellow Yellow, Scarborough Fair, (Sittin
On) The Dock Of The Bay, Spooky, Sunny, Up On The Roof, Walk On By, What
Becomes Of The Broken Hearted, What The World Needs Now Is Love.
00701215 Book/CD Pack ................................................................... $17.99
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26
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fi
j
#
.
V
#
n
b J
J # .
J
C dim
25
2
4
~~~
D-
7
5
G7
VSolo
29
7
7
C7
2
3
G7
C7
j b
j b
6
0
78
0
7
7
7
6
0
78
2
0
0
2
~~~
~
j b j b n ~~~b~~ j n b
#
b n n
G7
C7
7
7
6
0
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5
7
0
65
0
0
6
7
~~~ 3
~3
5
5
34
4
5
3
4
2
3
0
0
28
G7
V
33
C7
G7
4
2
4
3
3
2
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3
2
C7
4
2
4
3
3
2
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3
2
j
b j
V j
j
b j
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C7
37
35
57
43
4
3
3
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3
2
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E b7 j Db
V
b
~ ~ j
b
b
.
j.
J
J
0
1
3
1
3
1
3
2
1
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3
2
3
3
3
1
1
1
1
41
0
3
5
34
58
9 8
11 10
7
8
7
6
6
7
~~3
~~ 3
5
5
3
3
3
3
0
7
8
7
8
8
6
8
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5
6
7
B b7
E b9(# 5)
D13
~
~
b
b # n # b n
b
b b
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# j
bw
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1
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8
29
45
8
8
11
12
~~~88 10
~ 10 10
8
89
9
10
8
9
7
8
5
5
5
5
67
5
6
11
11
0
10
0
0
9
10
0
10
j
j
b n b # j
J
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49
2
1
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3
3
1
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2
34
23
0
0
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3
5
5
3 4 3
34
53
13
j
b
V 4/6
Em7 ( b 5 ) 2
Gdim/D
j
b # b
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53
6
5
7
5
5
6
7
5
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5
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5
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j
b
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4
3
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1
0
2
3
3
2
0
2
0
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F/D
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b
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n
#
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64
V
.
p i
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X 3/6
4
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3
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10
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9
8
9
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10 8
10
10
j n
j b
V
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6
7
8
6
7
6
7
56 5
j n
j b
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1
1
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5
5
6
7
5
7
7
7
89
j
j
C
1
1
2
3
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5
5
6
5
j
j
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fi G7
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61
7
8
7
6
7
D.S. al Coda
5
5
Coda
C7
G7
V .. j b
w
w
65
.
.
0
3
0
3
G7
C7
G7
j
b j ..
w
w
Repeat and fade
3
0
3
0
3
.
.
30
Simon
Fox
A Month of Rain
32
A Month Of Rain
A Month
of Rain
Tuning
CGCGCD
Simon Fox
V 44 ..
.0
.5
T
A
B
0 2
0
V
9
0 2
0
4
0
5
32
3 5
0 2
0
4
35
0 2
0
5
5
0
0
5
2
2
2 32 0
0 2
2 32 0
23
3 5
32
4
2
0
0 2
0
5
0
4
4
2
0
4
2
0
bb
0
0
0
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2
0
3
2
0
23
0
0
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0 2
35
3
0
17
0
4
V b
3
5
3
0
4
0
5
0 2
0
5
13
4
4
2
0
5
35
0
5
0
5
7
3
75 3
0
5
3
0
5
j
V b
21
3
5
3
5
0
3
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3
2
0
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23
02
#
0
32 0
0
5
05
5
4
0 2
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4
1
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3
2
2 32 0
2
0
5
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2
0
5
0
5
..
.
.
0
0
..
45
05
05
2
0
42 0
2
0
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37
05
j
j . j j .
4
4
3
6
33
j . j j
.
V.
.
.5
29
V j
02
75 3
25
b
n
V b n
n
0
.
.
ww
w
w
0
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34
Douglas Niedt
How to Make a Million Dollars Playing the Guitar
For years those in the know
have admired Doug Niedt as
one of the finest guitarists in
the history of the instrument.
Now to the surprise and good
fortune of many, he has
authored How to Make a
Million Dollars Playing the
Guitar.
Hemme Luttjeboer
The Complete Idiots
Guide to Guitar
Excerises
As a transcriber, Hemme
Luttjeboer has worked on
250 books for artists such as
Eric Clapton, Vince Gill, B.B.
King, Jeff Beck and Jimmy
Page, Eric Johnson, and
many more. Hemme is also
an accomplished player in
his own right. His work has
appeared in magazines such
as Guitar Player, Guitar
World and Fingerstyle
Guitar.
Hemme has now stepped out as an author with The Complete Idiots
Guide to Guitar Exercises. While the book is not for the virtuoso player,
35
dont let the title fool you. The book not only introduces the beginner
to the basic skills of the guitar, but it progresses into areas such as
the harmonized scale, chord inversions, rhythmic patterns, major,
melodic minor, harmonic minor, pentatonic, arpeggios, picking technique, and much more. The 264-page book contains over 150 written
examples and a CD with 91 audio examples.
We highly recommend this book for students new to the guitar.
www.musiconpaper.com
DVDs
Howard Morgen
Fingerboard Breakthrough
During his fifty-year career, Howard Morgen has established himself
as one of the most knowledgeable musicians the guitar world has
ever known. His dozens of books and hundreds of articles have given
great insight to countless musicians. Howard describes Fingerboard
Breakthrough as his lifes work.
Fingerboard Breakthrough has the potential to change your understanding of harmony and the guitar fingerboard. We highly recommend it for all serious students of the guitar.
www.howardmorgen.com, www.truefire.com
CDs
Like the countryside of France that inspired this music, its best
experienced rather than described.
www.martintaylor.com, www.theguitarlabel.com
Tom Hemby
In The Moment
In Nashville,
Tom Hemby
is known not
only as an Astring session
guitarist but
also as an
award-winning producer. Tom is a
Grammy winner as well as
a four-time
winner of the
Dove Award.
As a guitarist
he has
recorded with
artists such as Michael McDonald, Amy Grant, Vince Gill, Steve
Winwood, Wynonna Judd, Faith Hill, Garth Brooks, Brian McKnight,
Matchbox 20, and many, many more.
Tom Hemby is one of the finest studio guitarists in the country. Fans
of contemporary guitar styles should without doubt add In The
Moment to their collection.
www.tomhemby.com
Tom Doyle
Tribute to Les, Mary, and More
Inspired by
the recordings of Les
Paul, nineyear old Tom
Doyle begged
his parents
for his first
guitar. Little
did they
know Tom
would one
day befriend
the legend as
well as play
with him.
Tom worked
with Les at
the Iridium from 1996 until his passing in 2009. Toms passion for
Les Paul was not only for his playing but also his genius regarding
recording technology and guitar design. Tom has gone on to play a
great player, guitar builder, and engineer.
Toms most recent project is a tribute to his mentor for all his contributions. When one records a tribute to Les Paul, it is understood
that Mary Ford would also be an important part. Sandy Cory lends
her fine vocals and captures the magical spirit of those classic
recordings. Tom and Sandy takes the listener on a nostalgic trip with
classics such as How High The Moon, Caravan, Ill See You In
My Dreams, Bye Bye Blues, and six others. This is a great addition
for collectors of Les Pauls music and just plain fine guitar playing.
www.tomdoyleguitars.com
36
Little Fingers
Master Workshops
By Adam Rafferty
#### 4
V
4
T
A
B
Whats the big deal about that? you ask. Dizzy Gillespie would
spend rehearsal time whipping his big band into shape so theyd
perform these accents properly. In swing and jazz, many play
8th notes like da bee, da bee, da bee, da bee for 1 + 2 + 3+ 4 +.
(Example 3). Thats a corny kind of sound just the sound Diz
did not want!
Try this by singing or scatting the following syllables: Start on the
and of beat 4 with the scat syllable BA, and with OO land on
beat one. Ba-oo, Ba-oo, Ba-oo, Ba-oo (Example 4). Thats a much
groovier way to count 8th notes. Dizzy would have his whole big
band sing their parts with these scat syllable accents to teach
them. I wasnt there, but my main teacher Mike Longo was his
pianist form 1964-71 so I got the stories and lessons pretty much
from the source.
This concept cant just be in your head or ears it has to manifest
as fingerings and sounds. Play the fingerings hammers and
slides as written, and youll fall right into the pocket!
n
#
# #
V # #
n
#
0
2
0
1
0
0
37
Ex. 3
Da Be Da Be Da Be Da Be
Ex. 2
0
3
1
0
Ex. 4
J
Ba
oo
Ba oo Ba
oo Ba oo Ba
left hand to slip and slide up and down one fret at a time whatever is needed.
Another musical idea: fool around with letting the open Es in the
song ring out, especially in the first A section. I originally clipped
the open Es short which is what you will hear on the CD version but have been allowing them to ring lately, as heard on the
newer sound file. Letting notes ring can add a level of relaxation
to the music.
See measure 16. The idea is much like measure 12, only broken
up rhythmically. I pluck with P, I, M on the right hand. Due to the
limitations of my notation, it is easy to do on the guitar but hard
to write out! Just let the left hand notes ring out, and allow your
38
Little
Fingers
Little
Fingers
q q=q e
3
Adam Rafferty
j
j j .
j
j
j .
n
# #
j
V # # 44 n
T
A
B
j
#### n
# n
V
.
J
4
barre top 3
# # # # n
b
V
n
3
3
4
3
2
3
j
#### n
# n
V
.
J
2
12
V
16
####
0
0
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j j j .
j j j .
j .
j j .
n
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1
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4
2
3
j
j j j .
j .
j j .
n
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n .
#
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n #
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j
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b
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3
2
01
5
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39
n .
#
n J # J
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fi
2
2
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To Coda
3
j
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j
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6
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barre
j j j
j
j
#
j
n
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j n #
j n j b n
#
#
n
n #
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.
#
3
D.C. al Coda
20
0
6
fi
25
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3
3
3
2
3
2
2
2
1
2
n .
2 0
3
#### n .
n b n
V
n #
n
n b n
n #
n
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3
3
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n .
n
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n #
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3
29
0
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3
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####
.
V
n
3
n
3
4
33
12 10 7
10
n
n
5
5
5
4
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6
j
j
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...
.
.
.
7
7
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7
0
40
The Backpacker
Master Workshops
By Tim Farrell
41
At
measure 72 the main melody appears again in the higher octave but this time it is a mixture of harmonics and
fretted notes. This is meant to open up the melody and
make it light and airy. Let everything blend together like a midsummer nights dream. The melody will then descend into the
dancing phrases, which are now extended and repeated. Keep the
energy up and increase the dynamics gradually until you end the
piece with a flourish.
Most important of all, have fun with it!
timfarrellmusic.com
The Backpacker
The Backpacker
Tuning: EBEG#BE
Tim Farrell
#### 4
3 3 3 3 3 w
V
4
w
3
T
A
B
V
5
####
0
2
5
5
5
0
3
3
w
w
0
0
2 4
0 2 0
0
0
####
V
J
3
24
0
0
0
0
0
0
0
0
.
.
.. 44
3
3
3
3
3
3
3
#### 4
V
4
J
3
13
# #
V # #
J
3
17
0
2
5
4
0
0
0
0
0
0
24
0
0
0
0
0
0
3
3
3
44
7 9
7 0
0
0
4 0
4 5 4 0
0
2 4 2 0
0
0
0 1
2
0
42
####
V
21
7 97 0
5 7 5 0
4 5 4 0
0
2
7 9
0 2
0 2
0 1
4 0
3
3
####
2
24
44
harm. 12
45 4 0
2 4 2 0
7 9 7
0
0 1
2
0
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4 5 4 0
0 5 0
0 4
# #
V # #
w
3
32
0 4
0 5 0
.
4
0 4
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0
5
12
0 12
12
12
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9 11 9 0
3
3
w
w
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7 9 7 0
28
#### 4
V
4
.
w
0 7 0
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24
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37
15
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0
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0
4
0
2
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w
3
3
3
3
3
3
3
3
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V
4
w
3
43
44
3
3
3
3
3
3
3
3
3
## # 3 3 3
V
w
w
41
15
0
13
12
10
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2 0
0
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3
3
3
####
J
3
45
V
49
####
0
0
0
0
0
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w
J
3
0
0
0
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57
0
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3
3
w
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w
3
3
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w
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0
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53
####
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w
0
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44
#### 2
V
4
44
61
w
3
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5
4
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2
2
1
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3
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66
ww
ww
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####
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5
4
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3
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3
####
J
3
71
0
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V
76
####
0
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3
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J
J
3
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2
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45
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Little Bird
Master Workshops
By Eric Frederickson
47
Little Bird
Little Bird
II
J J
#### 3
n
V
4
. J
4
4
3
4
2
2
2
0
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3
4
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4
2
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9
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2
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12
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2
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4
4
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0
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.
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3
II
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2
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Eric Frederickson
.
J
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0
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48
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####
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nat. harm.
7
7
8
7
9
7
10
IV
j 3
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10
7
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50
CHARACTER
CHARISMA
www.CharisAcoustic.com
CHARIS
Morning Ra
By Tom Pender
Master Workshops
center. After playing around with such vacillation and eight bars
bars, I was able to give myself a good escape route back to the origi-
ing with F#7. The little moving voice within the F#7 also assisted in
where I was and what I was doing at that point in time. So, the
motive over a minor chord that moved up the dorian scale. All of
Enjoy!
www.tompender.com
52
Morning Ra
Morning Ra
Thomas Pender
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54
City Blue
Master Workshops
By Bill Piburn
ets take a look at my original tune City Blue. In this column, I will discuss chord voicings, chord alterations, chord
texture, ornaments, syncopation, tritone 7ths and the tritones used as altered dominate sounds. We will also discuss
implied harmony. At times, these points of topic may overlap,
because multiple things can happen at once.
Implied Harmony
When dealing with harmony, one could say that a chord has to
have the major or minor third to define the quality of the chord,
and that is true in a textbook definition. In the real world of hearing music, whether or not a chord is major, minor, diminished,
altered, etc. is often determined by the context; what follows or
precedes is just as important, if not more important. Perception
becomes reality because our ear perceives the sound. This perception is not only based on what precedes and follows a sound
but is also affected by the expected harmony of the key center we
are in at the moment.
A few examples of implied harmony are as follows:
55
I have found that the tritone shapes can be moved around the
guitar to imply altered sounds. The key is to first establish the
chord sound, as I did in measure 12. Beat one outlines the G7th
while a tritone shape moved up to D# and A outlines the sound of
G9 (#5). This is a powerful tool! If you incorporate it into your
arranging and writing you will be amazed at the sounds you will
find.
Ornaments
Blue
CityCity
Blue
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Bill Piburn
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1
Guitar Gallery
By Bill Piburn
20-1/2 in
16-5/8 in
11-1/2 in
4-5/8 in
25 in