Clarence White Guitar 1l2q1q

Clarenceltrhite

ol Exacltranscriptions 24 tunesand breaksby the guitari$.Complete tegendary analvsis andinstructionon uniquepicking Claience's technique, syncopation, andbackupstyle.

M7 -871642 qC591 1978

Plusa completemusical biographv, discographv,.and, manyneverbelore-puolrsneo photos.In standard notationandtablature. BV RussBarenberg. OakPublications/$4.95

BLUEGRASSMASTERS

ClarenceUrhite by RussBarenberg

Oak Publicationi Ne*Yort. London. Tokvo. Svdnev' Colosne

Contents 4 Introduction 5 Musical Biography 9 Musical Style II Notation and Temt f2 IntroductoryInstruction 12 Syncopation l3 Pick Direction and the Rieht Hand Crosspicking 16 18 Alalyzing a Phrase 20 TheMusic 20 A Life of Sorrow 22 MountainDew 24 No Title Yet Blues 25 Rugle Call Rag 27 FarewellBlues 30 Joh Henry 32 Sally Goodin(1964) 35 SallyGoodin(1973) 36 Billy i the Lowground 40 Listen to the Mockingbird 43 Nine PounilEammer 48 I'maPilgim 5l BarefootNetlie 52 SheikofAruby 54 New River Truin 56 Soldier's,Ioy 58 The NewSoldier'sJoy 60 JuliusFinkbtuei Rag 62 AlabamoJubilee 64 If You'rcEver GonnaLoveMe 66 DarkHollow 68 Backup 68 I'm a Ptlgim '71 Discography

Introduction Oncein a whlle you run acrossa musicianwhoseplayingseemsto havefallenright out of the clearblue sky. ClarenceWhitewasone of thosepeople. Clarencewasamongthe fiIst to usethe guitar extensivelyas a lead instruanentin a the bluegEssband.Wjth an incrediblyrcfreshingapproach,he absorbedand transcende'd flatpicking pre<xi.ljngstyle.of bluegra.s In the fifties. what little lead guitar playingthat was done waslairly stmightforward by steadyruns,with melodiesand phmsesthat rhythmically.lt wasusuallycharacterized did not differ significantlyfrom thoseheardon the mandolinor fiddle. Don Renorecord€d some flatpickingsolosand GeorgeShuffler frequentlyplayedguitar brcak v/ith the StanleyBrothers.Around 1961,Doc Watsonemeryedwith his distinctjveand inflrrential style of flatpickingon fiddle tunesand country songs.AlthoughDoc'splayingwasalways technicallyamazing,full of dazzlinglioks,and musicallvdelightfulto boot, his phrasing wasnevertoo complicatedor unusual. in the earlysixties,introducedmuch Clarence,evolvinghis own way ofplaying bluegrass guitar and to the music in general He greaterrhythmic and melodic flexibility to the discoveredmusicaleffectsthat fit the guitar like a gloveand wjth them addeda new without sacrificingany ofits strengthor drive.His freshperspectives dimensionto bluegruss openedup a wealth of possibilitieslbr future picke$ and establishedthe guitar as a Tony Rice,one of today'spreeminent workableand effectivesolo instrumentin bluegrass. describes Clarenceas "the greatest" bluegnssguitarplayers,unrcservedly alongwith background,instructiontnd transcliptions, complete This book contains you some ofClarence'smost importantbluegrass to appreciate commentarythat wil! help guitarplaying.

MusicalBiography Bom in Mainein 1944,Clarcncewas surroundedby music ftom the beginning.His heritagewasmainly FrenchCanadianand in his father'sfamily of seventeen childrenthere wasno shortageofmusicians.Edc White Sr. washims€lfa pretty fair fiddler and playedthe tenor banjo, harmonicaand guitar as well. Clarence'smother often enjoyedCountry Westemrecordsand radio programsand Roland(six year older than Clarence)waspicking the mandolinfrom the time his Littlebrother wasold enoughto _ It's no wonder that by the time Clarencewassix yearsold he wasstrummingthe ukuleleand withn a coupleof yealscould play simpleguitaraccompaniment to his father aid brother.Even beforehe wasbig enoughto get his armsaroundthe guitar,he would strum the stringswhile Rolandnoted it for him at the other end. The family left Mainefor Califomiain 1954,but not beforethe youngmite brothe6, includingmiddlebrotherEdc on tenor banjo,had t ed their hand at perfoming. playing standardcountry numberslike "Raglime Arlnie," "Golden Slippers,"..RubberDolly,' and "Under the DoubleEagle,"they had madeseverallocal GrangeHall and talent show appearances. Soonafter arrivingin Claifomiathey ent€reda talent showon radio srarlon KXLA, Pasadena. Their renditionswon the fledglinggroup (then callingthemselves The Country Boys)a spot on televisionand got them involvedin the local country musicscene. At that point Clarencewasjust playingvery simplecountry backupwith no runs. Then in 1955 Rolandgot ahold of his first bluegrassrecord,a singleof Bill Monroe doing "Pike County Breakdown."That musicreally grabbedthet attentionand lrom then on the Whitesb€camebluegrass addicts.Clarencebeganto pick up the detailsand subtleties of bluegmss-style backup.Rolandrecallshim noticing the c run on Monrce'srecordingof "Uncle Pen" and on MacWiseman's"Love Letter in the Sand."He wasoff and running. The brothe.splayedand listenedto asmuch bluegrass aspossibleand in 1958,whenBilly ed Ray Latham up with them on the 5-stringbanjo,they had a chanceto staf working out realbluegrass materialasa group.The Country Boys,with Edc now on bass,played local radio programs,Country shows whateverthey could get and by 1959-1960were appearingat the Ash Grovein Los Angeles.Clarcncecultivatedand solidifiedhis ythm guitarplayingin thoseyeals. Throughoutthat periodhe wasexposedto flatpickedleadguitar.He wasexc'tedby Don Reno'sguitarbreakson "Country Boy Rook and Roll." He and Rolandhad recoralings of the StanleyBrctherswith GeorgeShuffler and every Saturdaynight they watchedJoe Maphis(who, amongother things,wasa lightningfast flatpicker)on television.In fact, Joe and his wife RoseLeebecamepretty good friendsof the family and werea welcoor€souroe ofencouragementto the boys in thefumusicalendeavo$.Oddly enough,thoughClarence neverliked to fingerpick,he wasvery impress€d with Earl Scruggs'guitarplayingat that played time. Scruggs often bluesybreakson gospelsongswith a rolling three-fingerstyle much like his banjoplaying.As Rolandputs it: "Earl Scruggswasthe one thing that really tumed us on to someguitarplaying.Clarcnceliked the syncopationthat Scruggsgot . . . he thoughtit wasrcal nice." Clarencehimselfdidn't stafi playingleadsuntil arcund 1959,but all alonghe'd kept his earsopento a lot of music.Bill Monroewasone ofhjs favorites.He wasexcitedby Jesse McReynolds'scrosspickingon the mandolin, and he liked Merle Tmvis's intncare fingerpicking.He alwaysenjoyedrock and roll almostasmuch asbluegrass and,desprre Roland'spleato spendtheir moneyon bluegassrecords,Clarenceand Eic woulalgo our and buy the latestreleas€s by FatsDomino,ElvisPresleyand ChuckBerry. But the music both Clarenc€and Rolandiredmost wasprobablythat ofthe Flatt and Scruggsband. They werepolishedbut retaineda deepfeelingfor the music.Rolandrecalls:.'Claronce

thoughllhatFarlscrug g ' a n d Un t le J o s h I s Cru g greal s . . dwell o b rologelher' p la y e rlh thile gtrood reatest|ee|lng Toa du5 *i'|.tt'l thougrl He ofanybod] music lbr t""t"t"' 'n"' " Tiis is a prettv matureobt:11:]t-:-Y: Lrs'ft"v out . . . Joshhad a lot ofrnfluenceon in light rapport ipprecia;d that kind of mllsical to make-and it's interestingthat Clarencc nolmd leamedto play togetherby oi r-ro*rlr"ffrt" Though listeningand experimenting. "nA Clarencewascompletelyself_taught*h \tere his lirsl'colo\ vc leard hislalercomplexslyle it r^ ii i"rl t" it,tine oncel ou

l:;i,;';;";i";;i;;;:lt::: ij',"]^,1*;:1i:iX[;,.,;:;,"Ji"::;:1 :;;;";";"vRoc'' Rorr"r and ii'i;lij'iil;;'',,;.1;;;; [:,'j;'ij'ilI'#J:i'"l.li b! Don Reno probablyinlluenced \i!hllehr"u'lu tolot *"" _Roland notefor notelrom tecords iim for long and JoeMaPhis,that style di'ln t satrsty,

remembe$that at a praotice

lii""aix"",r""o llji;i::\:::;,:,llj":I,',11i::l;"Ji;i:: "h:lcr,,".l: hewas asitwenton' that ii';;,*,. i,r'int ::X"iH#trffiff * * lli"llili that's what kind comeup iiihsomething on his own, and awarethat he had to eventuatty

I refttoso.,intoJffi'fi,:?ri:l;" lii.,i""."l'",.".i tnettmesitinhis woul.r .larence that durir recalis

Roiand'swife Arlene to tistenandhe'd play her a tune iust like e;in sometim"-s stre,a play hours. for and play room is the way I want to do it," and would this Noi tre-a Tlen record. it wason some "ay,. just workedout He wasst'lllltlltl:,.T"t"' his own versionwith the new roeasnc u

iiJ"li,ii*i,""'"-:"ry::1iit'::'#;:i;1"i,lT,T:'J:l;: il:l,Si;";:' slff Around that time he evenheard a tew

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growDoc the;that his own originalstylc beganto to say, Watsonat the Ash Grove.Needless mer r,.o:,:i:s-:^"":'ano heard In early 1962Clarencefirst a musit:]:1:::1:i,' ttre arm. This gavehim :.;.;";iir,.t undoubtedly 1t plavmg ano Doc's by thdlled he was

.:{ff::l}l;qi-;; i:,:Hi!Hl;"HJ:*'o til*Jil;t=ffi frHlil:t-;txf t"n"t for yearsand neverdid (ThoushI shouldpoint out ttrat tre''r ueJrifimiti"t Uttt ttt"t"

J.' il';;?;i;;;" i'':D:::1,:"::,lt'i: ;|.':#T::T:,-Tiit'Jliil$llJ:.l the bv and k*;;.i;h;;""'sexistence' 's::l:ll::x'J,ll::T:l^:"1,"oil1'-i#1"il"i."

begunto lbcuson his olvn arrangements' ft"a iit"ift""." say "f*a'ly sort of person "He'd be the last one to Clarencewas normally a qurel' resefle'l was bass) Rcg€r,Bltshon (now.with *hen Rotan,lwasgon", the sroup to plav break a to il-t"t n" tu" teadv ".;i;i;;r;;;;;""., short a soloist,so Clarcnt" "o"*" to "nil"iirt"-ino* In I h e b a n d p t ' y ' n gt u t L mo rcle a dg u ila l\ i l h mostanl thing Thrl y e a rr t o t ' : r n t t ra irc J

ilJ':';:i l'fiiJI i]'lH:'lJ lil i:f il;i];".: lil ;s* "lm.";*ii""T extremerv was aseor le hjspravins At thetender ""iT:t'fit"i :l:llfftJJjr" it Dimensionsin New 'u.l heai it on the-albLrm ioo and musi"uuy

sophisticated the ""un""nl' is;3 in Los AngelesThe recofd fc'tures in "an lJanioand Bluegrass,.J/lli.r'** .".o.a"a Ash the at m€t i'ittrnun' tttorn-Ctut"n-"e1rad i^in"f banjo playingoi Edc W"*"t*, "* are breaks group' The Tariers Four of Clarcnce's Grovewhenthey play"o tne'e wttn rneii

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Blues"' usedin solossuchas-"Farewell ittl;:l;eloped tvpeor crosspickins

*I.':""i:"1:{:"j-;* di.tinc,.. heintroduced'a fffiX:;J,X'"f:::';X*:";"':lT:,1'; McReyr Jesse through to crosspicking But crosspick"agttitu' o""xtl'-t svncoDated,

pt"l:ut'ott ofClarence'searlystyle

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mavhavecomefromthebanjoandrylit:l thatthe rcalinspiration it seems

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;:jlr":;:; ':i*;i:'i,'"*?ii i"li:l:::',,:::::::'P ''''ng\!henhelteard-scrugss''banjove?ior'j:-:h( [1"'"".::Ji;ji';::Li."",i"',."Jt.out thatbvlist'lll'.i::1;,;:'.-*-':,: R.';;. rHer'(rmed ;l,i":Tri.*:;ffi ;::;;;;,; tl,9i*::1 I c't 11':lk"-'1": banjo.rhat wasoneof thelilst slxrccords 111"111:""ii:: get aroundio workingup a breakfor the Ne Dimeniio'lr asgreat."So whenClarenoedid

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thingsout." working '' sensethat woxld iloudsh ovcr ih".i .ofoi of.o .l-rowsignsof thc syncopatedthythmic foundatjonofhis style lt would be mcanmgless u*s a;d becomethe..This tn"."-i .-tf..f is wherehis senseot syncopationcamefrcm " ,^1.;"r r,, .o."iri" influenceand say, ^ nna tuttLv pjckedup tracesof it from pcoplc like shuffler' ;il [;; ;:itk; it' the m n "l;nuno Josh,Doc, ChuckBerry' etc But whenvou get down to u*le ii..r.", i".t*l playingmuslc' t" f,is own imaginationThis washis own way of .."f4 .rr... "'if,rir"." upon rccording Coloncls Kcntucky ".fv tft. groupchangeiltheir nameto the v"his stav in the following ss'Ar"ericawhcn Rolandrcedthem ,n"tr'i-t.irii.l., onlv comes$'rtir "ir"i.;ork more intenselv'Giver the stimulation-that ;;;;;;,;;ilthis ideas He startedexperimentingwith more ri""al p"tii.t"t.t, Cl-ence quickly extenlied usc of syncopltcd effects The complexrhythmic phrasingand more extensive 'olonels Boston. in Denver,Detroit and lnti 1963tt,"t in.ludealappearances werc (eallv Therc working poppin" ". ""J,".,;",i.rn reallvstartcLl -",i'" , *noletr;peverything ttttt,rt.,t't plavjng He wasworking thcsethingsouta Gg on, especiallvhis guitar i.i .i."'-',rti;" "lot right at that tine." more elabofate v,'"" thincs...incluilinglis syncopation,jazzjerphrasingand "r..tlesc s\\'ins:TheKentuckv t."i'"J'ii'.' it.. t "iil .." f* r"*o onthealbum'4ppa1achiatt but that album blew limited' was tf*t tecorclcdin 1964' Its circulation irl)rilr.'*nt"l best'The plaling is his is at guitaristwithin earshot Cl'rrence .;;t;bi;;rass ;;;; onlv stavedin print ,tl unriistakablyhis own Unforlunately'the record *r*tl* ( (bLonels Jbnne v'fhc Counttv 7'' e Kentu'kr "-.rirnt, i"' t"r.. ti *"" rcissucdin 1973as get your hendson il It is inv'luable for "'i""ti' ,"rll. ,r"i trt *rf" oiscontinuedTry youl bestto just a real treat to listento tun"" in the book that JIc takcn frcm it' and it's t"o-ing tt,. Pound "l* tbnd of playingon tuncs like "John Hcnry" and'.Nlne t'"."".1"'*ri flow endlcss ".0"","1y h. wa. gru"nroon tu-strelchout and let loosehjs seemingly Harnmer,"where o|m usicalideas'Intherecoldng s t u d lo h e a n d Ro le n d a c t u a llyfor t ra d c d b re a k s o n t h e s e A neatsplicingjob cllt them down to size the.record' i", fO f S it.". '' their repertorc u.tivc oncsfor the Kentucky colonels-They expanded ilror" y""..- *.." -itutesl matedallike-"The sh-eikof.Arabv.''and t. i;;l;l; r".. tmditionallv non'blucgrass " Clarcnceneverlet like with unusualarrangements "The New Soldier'sJoy experimented mselfa Ue'd havea tune basicallvtogetherand then would:ii-::1-hi hi.'pi"","* u**". to rdca new go a over and rr. pf"yed jt After a set he'd oiten slt down iiiil" he once and xmazing ""at-,i." ."ii it down. His right hand work wasparticularly i, ."i .Jn..irl would "be gave. him trouble ".a iliJ ri"l""a ,rr" rr" *as ahvaysihinking aboutit- If something describedit aifferent wav of g it with his dght hand " clarcnce i*'."'.* ltti "]iiu" way I can" simpiy: ''---i'S;s"fjust do ii the easiest playing By then he was ;; ,n" 1u.,tear that he workcd intenselvon his bluegrass plavfullv sttetchhis syncopations a..* *,* n.",it f"i .ut pickinganil would sometimes of the band To keep things rest io tft. ntft i"gr"" as a challengeto himself and the RogerBushputs it' "and then try to gcl irt"r".ting. ft.:O "painl himselfinto a comer"' as the corner"' i,"t"itu r'" .ia" rt' but now and then he'd trap himselfin iri. -"U.-tf.i""",.fu, rercbedits playing bluegrass living a make to ,n. fiustration of trying

boiling point and the groupdisbandedin 1966-Rolandsaysthat asfar asClar€ncewas concemed,"He hadn't lost intercstin bluegassat all. Hejust had to mak€somemoney." During that last year the Colonels frequently deviated from a stdct bluegrassformat and Clarenceplayeda fair amountofelect c guitar with the band.JamesBurton, guitadstfor ElvisPresley,sawhim and liked him. He encoumgedClarcnceon the electricguitarand landedhim his first studio recordingsession,playingrhythm guitar for Ricky Nelson. irresistibletalent soonprovidedhim with a busy scheduleof sessionwork in the Clarence's Los Angelesarea.He becamemoaeinvolvedin the pop and rock musicsceneand eventually hookedup with The Byrds,with whom he worked for severalyears. It's not surprisingthat he was as much a trailblazeron the electricas he was on the acoustic.He approachedit asa new instrument,discoveingeffectsthat broughtlife to the electricgujtaraswell asto the new musiche wasplayiflg.One ofhis contributionswasa mechanicalstringbendingdevicethat allowedhim to play pedalsteeltype licks on a regular six-stringelectdcguitar.lt soonbecamea popularitem amongcountry-rockguitarists. The Whitebrcthers(with Eric back on bass)enjoyeda happy and satisfyingbluegrass reunionin 19?3.Along with Alan Munde,th€ very talentedbanjo playerfrom Country Gazette,they toured England,Holland and Sweden.Th€ music came together with remarkableeaseand the band felt a strongmutual respectand appreciationI Rolandsays,"Clarencewas surprisedbecausehe redlly enjoye.dplaying the bluegrass. just period really it. that for a of time, and he was into think it wasthe first time he'd done I think it wasa challengeto him becausehe didn't think he could do it again."Clearly,he could do it. The WhiteBrothers:Lire in Sweden1973, documentsthis tour. Oarence's playingis not radicallydiffercnt from his work ofthe sixties,but it hasa distinctivellavor and seemsto havebeenbroadenedby his yearsofexperiencewith The Byrdsand others. (See"Sally Goodin," "If You're EverGonnaLove Me" and "Dark Hollow," the last taken ftom Muleskinner,an albumwhich featuresClarence,RichardGreene,DavidGrisman,Bill Keith, and PeterRowan.) in Europewereamonghis last.Clarencewashit by a car and Tragically,the performances killed on July 15, 1973while loadingequipmentafter a gig in Palmdale,Califomia.The world lost a truly gifted musician. Clarencedigesteda lot of music and cameup with his own music on the guitar. Non-guitadstsinspiredhim asmuch asother guitarplayers.As Rolandsays,"It wasthe feel for musicthat madea differenceto him." Clarencecertainlyhad his own feel for music,and he cultivatedit with a fertile imagination.He wasddvento play in an originaland innovative way. But it angeredboth Rolandand Clarenceto hearpeoplesaythat they werc "ahead of their time." "That's not what it was.Weweren'ttrying to breakany rccordsor any new frcntierc, we just playedmusic,just good music,music we liked. Our ideasweren't all oiginal, you know. What we heardand leamedfrom other peoplewejust interpretedio our own way. Weweren't trying to be aheadofanybody . . . we werejust doing what we liked to do, the best way we knew how." For Rolaad,playingwith his brother waslike playingwith no one else:"We enjoyed what we did. We had respect for eachothet. . . . He was always filling in- He was always right there.It wasreally something."RolandmodestlygivesClarenceqedit for the ongrnality ofthe band'ssound:"He wasway aheadofme. He would sit down and work things out. He wasthe main reasonfor the KentuckyColonels.His guitar playingmadethe Kentucky Colonels.That wasa very big part of the show.Peoplewould hearhis guitarplaying and wouldn't want to hearanythingelse."

MusicalStyle Clerenco'ssens€of rhythm is tho main ingrcdient in his unmistakable sound. His playing is loadedwith syncopationand rhythmic variety in a way that has seldomif everbeen equalledon a bluegrass instrument. Syncopatioris a rhythmic devicein which the off-beatsareaccented.Sincethe accent normally falls on the beats,syncopationgivesa refreshing,unexpectedsound.Clarence developeda mastedulsenseof syncopationand alwaysusedit tastefully,to strengthen the rhythmic pulse.His musicsurgeswith anticipatedbeatsand startlesyou with stuttering hesitations.With greatfreedomand subtletyin his dght handhe wasableto manipulatethe rhythm, to accentany note he chose,to leavespacesifhe wantedand to build interesting phrasesnther than simply follow the relentlessflow of notesthat tendsto dominatethe bluegrass rhythm. (Takea look at his breakto "I'm a Pilgrim"!) lf Clarenceseemedrcse €d on stage,it wasprobablybecausehe funnelledall his energy and vitality straightinto the musio.Usinga very controlleddght hand motion, he played preciselyand directly with no wastedeffort. Yet in a world of all too many monotoned bluegrassflatpickers,he standsout as an extremelydynamic player.While assertingan excitingcommandof rhythm and accent,he intensifiesthe musicalimpact with expressive useofdynamics.Clarencewasa soulful guitarplayer.His playinghasa clear,brilliant sound and often threatensto explodewith energy. With constantmodulationof intensityand emphasis, his playinghasan impellingkind of excitementthat soundsfreshand improvisatoryat all times.Althoughhe doesa fair amount of real improvising,many ofhis solosarc carcfullyworkedout. Whetherplannedin advance or not, his ideasareas cohesiveand well directedasthey are exciting.His solosg€nerally grow from the melody with astonishing inventiveness. It's lesscommonto hearhim tum to the kind of improvisationwhich fits the chod pmgressionbut bearsno other relation to the tune- Rolandsaysthat whenClarenceworked out soloshe startedwith the melody and then "just went in thereand piokedit." This melodicodentation,with real attention to the tune at hand, was"the way we l€arnedto play-" Therehasalwaysbeena strongelementofthe bluesin bluegrass music.Clarenceused bluesynotesextensively,but the way he usedthem soundeddifferent than anythingthat had yet beendone.His bluesylicks often havea strongfeelingof rock and roll or R&8.Combinedwith his own slipperyphrasingand rhythmic sparkle,the resultciurbe thrilling. (Checkout the solosto "Nine Pound Hammer," "l'm a Pilg m" and "Dark Hollow.") Rolandrccallsan observationClarenceoncemadeafter listeningto one of Bill Monroes blues-based mandolintunes: "You know, I don't know who copiedwho, whetherBill MonroecopiedChuckBerry or ChuckBe l, copiedBill Monrce,but it soundslike they might haveevenworkedtogether." Clarenceis well known for his crosspicking.This flatpickingtechniquewas originally developedon the mandolinby Jess€McReyoolds.It producesa rolling effect not unlike that of Scnrggs-style banjo.On the guitarit takesthe fom of a pickingpattem acrossmree strings.The pattem is not alwaysfixed and rcgular,but is variedto fit a particularmelody. Oarencewasone ofthe fint to adaptthe techniqueto the guitar,and he went a long way in exploring its possibilities. He used crosspickingin two basic ways. In his arrangementof "Listen to the Mockingbird,"for instance,it supplements the importantmelodicideasand fills out the sormd.Its effect is primarily textural.In the brcaksfrom "FarewellBlues" and "Billy in the Lowground,"he usescrosspickingas a melodic vehicle.Theseages are cleverly workedout so that a movingline emergesfrom within the crosspicking. Occasionally, they evengivethe impressionof two movingparts.Crosspicking is a difficult right hand

technique,but Clarenceplayedwith a freeenoughwrist and sufficjentcontrol to accentany note in the pattem and bring out the melodyand rhythm he wanted.By letting the notes ring ashe crosspicks he cteatessomebeautifuloverlappingsonoritiesand a .,stringy,,effect well suitedto the guitar.Evenwhenhe is not crosspick;ng, he often playsa note and leaves it hangingto hamonize with the notesthat follow, asin "Listen to the Mockingbird.,'With thesekindsofdiscovedes,Clarencereally fotutd the guitar'spotential. Another distinctiveelementofhis style is his useof 1a4eintervalleaps.By ..jumping" acrossthe stringswith the flatpick, tle givesyou the feelingthat he'splayingin two different sat once.Sometimesthe resultingimpressionis one oftwo sepamtepartswhich are playingoffeach other or mo]ringin hamony. Othertimesit involvesa droningeffect on a bassst ng ("New Soldier'sJoy," "AlabamaJubilee,""The SheikofAraby,,) or an embellishmentin the treblestrings("IfYou're EverGonnalrve Me',) while the Dartin the remainrng regisrer emerges asthe primarym(lodicIine. So you canseethat in his leadplaying,Clarencetakesadvantage of the guitar'scapacity to be a multivoiced, harmonicinstrument.He frequentlyusesdoublestopsand ..rolled,, gracenote chords.(seep.24 ) Occasionally, evenwith his remarkablyversatiletechnique,his ideasare c.ampedby the limitatioftt of a flatpick and he addsthe useof the secondand sometimesthe third fingersof his right hand to help out. (This occursmainly in his post-electricguitarsolos.See"Dark Hollow.") In Clarence'scrosspicking,lalge jntervalleapsand frequent useof slides,bendsand doublestops,you find the melodiccounterpartofhis rhythmic tendencyto movebeyond the straighterand much more obvious"runs" style ofbluegrassflatpicking.In achieving his musicalgoals,h€ produceseffectsthat soundgoodon the guitarby taking advantage of its morc naturalpossibilities.He works witft the instrumentso that nothingsoundsforcedor contdved.It soundsas thoughit wasmeantfor the guitar. Clarencebrought asmuch to his backupwork ashe did to his solos.In fact. it washis greatrhythm guitarplayingthat captiratedTony Rice(now the proud ownerof Clatence's old HerringboneD-28) whenhe wasgrowingup in Californiaand first heardClarenceplay. Sincethe guitaris centralto the bluegrass rhythm, Clarcnceopenedup new poss;bil;ties for the overallsoundola bluegrass band.The Kentucky Colonelsreallyhad a uniquefeel asa band largelydue to his innovations.He adornedhis basicallyrock-solidbackupwltn syncopatedbassruns,off-beataocentsand syncopatedstrummingpattems.(Someexamples canbe found on p.70) His interestin other kindsof musicgavehim a wider knowledgeof chordsthan most bluegrass playershad in the early sixties.Now and then, when no one was looking,he'd sneakone of hisjazzierchordsinto the bluegrass. In The Kentucky Colonels,Clarenceand Rolandmadegood use of their instinctive sensitiyityto eachothersplaying.WhileRolandworild solo in his wondedully fluid style, Clarencewasableto stray from the bassnote-strumtype ofbackup and play melodicitly behindhis brother.He wasright there with fills betweenthe phrases,but alsoplayedalong behindthe breakitself. Thoughrarely in strict harmony,the partsneverclashed.Clarence,s linesmelodicallycomplementedRoland'swork, and he playedwith suchlively accentsthat eventhough playing lead-typelicks, he remainedrhythmically ive.(See..I'm a Pilgrim," p- 69) This kind ofbackup playingwasnew to bluegrass. With his uniquerhythmic sense,strongphmsingand knack for makingthe most of the guitaron its own ,Clarencegavethe instrumentan activeand powerfulsolo volcern blueglass.In this respect,he did for the guitar what Earl Scruggs did for the banjo and what Bill Monroeand JesseMcReynoldsdid for the mandolin.He found a way to make the guitar work asa leadinstrumentin a bluegrass band by givingit an impact and strengthsurtedto the instrument.Now the guitar could participateon equalfooting with the banio.mandolin and fiddle without remainingbound to the simplioitywhich previouslyseemednecessary for its effectiveness.

l0

Notationand The transcdptionsare presentedin standardmusicnotation and in tablature. The six linesof the tablaturestaffrepresentthe six stringsof a guitar (low E on tne bottom). Numberson the linesindicatewhich fret is to be playedon eachst.ing.Numben abovethe tablaturestaff showthe left hand fingering. Tablaturcusesthe samerhythmic notation astegularwdtten musicwith one exceprlon. A halfnote in tablatureis written with no stem. It appearssimply asa numberon the staff. Down stroke Up stroke Accentor addedemphasison a note

A

Hammer-on Pull-off

,l 24

ll

Slidein which the first note is held asan eighthnote beforeyou makethe slide.

4I

Gracenote slide:start the slideat the fret indicatedby the gracenote, but don't hold that note. Slide immediatelyto the main note. Similarly for hammet-ons.

B 2

I

'i'

Bendor "choke" the note. Parentheses arounda note meanthat it is a weaknote and shouldbe played softly. Thesenotes can be heardon the recordingbut are significantly weakerthan and subordinateto the surroundingnotes.Sometimesgrcupsof noteswill appearin parentheses. Theseindications,alongwith the useof accentmarks,representwhat unfortunatelycanonly be a partially successful attemptto conveythe subtletiesof Clarence,s dynamicsin written notation. Eighth note tdplet: the beat (by that I meanquarternote) is dividedinto three equalparts.Playthe threenotesevenlyin the spaceofone quarter

lt l L3J

Qua.ternote t plet: a halfnote is dividedinto three equalparts.play the thrce notesevenlyin the spaoeof onc halfnote_

ll

IntroductoryInstruction Syncopation Syncopationis a disturbancein the nomal flow of the fiythmic pulse_The accentis shiftedto what is normally a weakerbeator part of a beat. A syncopatedve$ion of the simplebassrun: G Fet.

74

j

J'il-' t

' r tt+

+ tl

would go like this in Clarence's style: G

c

J rJrF t

a

etc.

Jtt--t

etc.

In the following transcriptionsof his solos,the syncopateal note usuallystartson an otibeat (secondeighthnote ofa beat) and is held overor /r?d throughthe beginningof the next beat,so that the note startsslightlyearlieror later than expected.The fust tour measures of the brcak to "Dark Hollow" are completelysyncopated.Notice all the tied notes:

n (vn v

t2

.v u" D

However,sometimesthe syncopationis simply an accenton a note in a normallysubordi nate rhythmic positiot. Tied notesneed not be involved.Clarence'sfirst two breaksto "Nine PoundHammer,"for example,arepepperedwith accentson the secondand fourth beatsin a rneasure(normallyweakerbeats)aswell ason singleoff-beateighthnotesin the following sectionon Syncopationpresentsriglt handproblemsthat are discussed Pick Direction,and givenfu her attentionthrolrghoutthe book.

Pick Direction and the Right Hand A flatpicker's ght hatd is a very pe$onalthing, and there'sno way of knowing lbr sure right hand motion. It seernsto me that asa foundation all the intimatedetailsof Clarence's on a he followedthe most commonprocedurein flatpicking,which is to play a down_stroke on off-beat. note that begins an on a an up-strcke on a beat, and note that begins Followingthis system,an uninterruptedseriesof eighthnotesis playedwith a steadily alternatingdown-upmotion ofthe pick:

a)

n v

(n V -V

F)

-V

(from "Mountain Dew")

This is not to saythat you alwaysaltematedown-upno matter what the rhythm of the notes.On the contlary, the motion of your dght handis directly synchronizedwith the rhythm. Your naturalinclinationshouldbe to movedown on a beat and up on an off-beat' Hereis a simpleillustration:

(n nvn

Flv n nVn)

I3

Clarence's break call for mo.e complicatedmanifestations of this pickingschenemar somctimesinvolveplayingconsecutiveup_strokes: 1 Consecutive up-strokcsresultingfrcm a slide,hammer_on or pull_off: C

o

l+.J (- V nV

'<.L,

c

v rr

n)

Hete the hammer-ontakesthe placeof a down_stroke,and the followins note getsan upstroke sinccit fallson an off_beat_ 2, Consecutiveup-strokesrcsultingfrom syncopations(sincesyncopated notesare playedon ofl,beats):

c

tutrffiF (-v

v

Fv -

n v nV n)

( "Billy in the Lowground' Part 82)

C

C

C

- 1-

t

-

-.-,t

i,

(-

nV ) -

Y-

(from "FarewellBlues') *It woutd be feasible to play this note with eitheran up_strokeor a down-stroke. t4

ll

Take a look at "John Henry" to seehow this systemworks in an actual break.pick directionsare completelymappedout foi that solo.Otherwise,wherehe seemsto adhereto this approach,directionswill only be indicatedasa reminderin tdcky situations where thcy will appearin parcntheses. However,Clarence'sright hand wasin chargeof the rhythm not vice versa and he definitelymadeexceptionsto the prccedurcdescribedabovein orderto producesomeof his rhythmic effectsand to executesomeofthe more complexphrases.In caseswh€rehe seemsto deviatefrom the rule, pick directionwill alwaysbe indicatedwith no parentheses. The mostimportant exceptionsaae: l. Fl for addedemphasis o. geater fluidity on certainoff-beats.This phraseis from Part A3 of "Sally Goodin": G

Q

7'

(n =

r

tln)

n

(V

n n) -V

In this age from Part Bl of"Billy in the Lowground,"the syncopatednote in the secondmeasure(the one that getschoked)can be playedwith eithera downor an up-stroke: C

tr-\

(!^ v !v

n

V f i)

2 . Fl for somepick-upnotes,particularlyat a slowertempo. (A pick-upnote is a singleeighthnote on an off beat that leadsinto a strongernote on a beat.)

3 . All down-strokesfor groupsofeighth notesin certainslowerrhythms.(See"A Life of Sorrow" and "I'm a Pilgdm") 4. n for a groupof "rclled" gace notes(seep.24) 5. Eighth note tdplets (directionswill be givenin the tablaturc)

Sometimes,asin the examplefrom "Billy in the Lowground,"two possiblechoicesarc shownfor certainnotes.The indicationin parentheses follows the normal nrle_Thc one aboveit is a possiblealternativein a situationwhereit might be done eitherway. I think my suggestions for pick dircctionmakegood musicaland technicalsense.But if somethingelsefeelsmorc natutal for your own right-handstyle in a particularage, feel free to useit. Just makeswe that you'llbe ableto executeit whenyou play the breaKup ro speed.What'smore important,convinceyourselfthat the soundyou,reproducingis true to Clarence'ssenseof phrasing! I'll discussthe dght-handaspectsof crosspioking in the next section.

Crosspicking Clarence'scrosspickingusuallyinvolvesa downward"ro11"acrossthree strings,from lowestto highestin pitch. Hereis an exampleof a crosspicking pattem: D

I-J-.J-J NV

I-JJ-J N V N VN

V

Differcnt pickershavedifferent right-handapprcachesto crosspicking,and I,m not absolutelysurehow Clarencedid his. For instance,somewould play the examplewith a pickingpattemoftwo downsandan up: D

| .r-v-nvnv

l6

Therc'sa gooalchanceClarencedid it this way, at leastsomeof the time Personally,I find that the easiestway to get a strongsoundand afl evenrhythm is to stick to an altemating down-uppattem in spiteof all th€ stringcrossingsThis methodallowsyou more flexibility to adjusiio new pickingsituationsasthey anse,particularlywhenyou're improvisingl with me (Clarencemay havebeenone of them)' so in know therc arc playerswho dlsagree many of the cmsspickingsections,I've includedpick directionsfollowingboth methods' Howeveryou chooseto crosspick,the importantthingsare,first, that you listen to the musicani realizehow it sholtlalsound,and second,that you get a good soundand a feeling ofcontrcl wh€nYou PlaYit. As I mentionedbefore,in actualsolosthe pattemsarc not rigidly fixed, but areadjusted 3'4of "Listen to the Mockingbid," to adaptto specificmelodicsituations.In measures pause in the melody: a during filler is usedastextural crosspicking

(n F

vn

ilv

!Y v

N

VF V)

FV

F V NV N V

-V

ofthe tempo and emphasis,I would usethe down-uppick direction For this one,because melodic activelyconveysClarence's In the first phraseof "FarewellBlues,"crosspicking idea: G

(c) \{.J

(v)

n {F

I

IJ-J-J

n

[3rv l! rrrrn Fft-t

H

vF

n)

-

TrTrn

FFFF trIF

tfTT-Tl

I+I+H

FiFI H

i-ftflj

ft-tt-Tl

TffErt Fffm

is a challengefor your right hand and will requirean active,yet well-guided Crosspicking of wrist and arm motion. As for the left hand,don't think of it as playinga succession for which separateeighthnoteslike you would in a run or scale.Try for a free-ringingsound positions and hand the left show you hold tire notesso that they overlap.The diagxams whento changethem,

t7

Analyzinga Phrase You're undoubiedlyawlre ofhow difficult it canbe to teachor leam music like this throughwdtten notation. lt's especiallytricky consideringhow much subtlety and nuance Clarencebroughtto his playing. To get a feel for the kind ofapproachthat canbr;ng a tmnscription to life, let,stake _ look at the fint line of "John Henry":

N

F

n

Vn n V

-V NV

Be aware olClarence's basic melodic idea:

Notice that, in essence, his phraseis a syncopatedversionof the previousexample:

18

aroundthe syncopatedmelodionote giv€syou hir actual Finally, ornamentalcrosspicking phrase:

etc. a)

I

etc.

ro

To achievethe effect outlined in the third exampleabove,hold the secondnote in measure I asyou play the followingnote, for a total ofone and one_halfbeats Hold the fourth note which shoulalemergeasan importanttnelodicnote asyou play the next two notes' dgainIolalingoneanda half bezls. Thenotesinparentheses(indicatingthattheyarenotplayedtoostlongly)inmeasules 24 servemore oi a rhythmic than melodicfunction.Eachshouldbe playedto producea getsmorc sort of "hopping" effect leadingdown to the following note, whish then emphasis. 3-4 t.tta a morc off-beatfeelingto the syncopatednotesin measures ip ,t.ot"s ""n Count carefullyand watch the timing here! Unfortunately,I don't haveroom to go into this kind of detail throughoutthe book l you'll needto hopethis explanationhasgivenyou an ideaof the sort of mentalapprcach your biggestaid! be wlll recordings to the makethe soiossoundright. of course'listening

l9

TheMusic With a coupleofexceptions,the breaksarepresentedin chronologicalorder,accordingto whenthey wercrccorded.So you needn'tsta at the beginningand work straightthrough, because they arenot arrangedin orderofdifficulty. The musicis written as if there were no capo being used.For example,in .Farewoll Blues"the fret indicationsin tablatureand the notesin standardmusicnotation describe the soloin open C positionwith no capo.On the remrd, Clarenceactuallyplaysthe brcak in the key of Eb (capoon the third fret). If you want, put the capoon the fret indicatedfor eachtune to matchClarence's real key, Good luck!

The White Brcth€r (The New K€nrucky Colonels), t9?3. L to R: Jack liick3, Rolan{i Whire, E.ic \ryhfte, Claren@ White. John t(aDdalis

ALifeof Sorrow Ljyin' in the Past(1961)

Accordingto the recordnotes,this is the first soloClarenceeverplayodon stagewith the group.Ifso, he must havebeenholdingout on the public for sometime. Evenifhe doesn't display an advancedsenseof syncopationhere, there is considerablerhythmic varjety, and a beautilully suretouch with the right hand.The mandolin-liketremolo in measuresI and 5 (repeatedsixteenthnote doublestops)is reminiscentofsome of Don Reno'sguitarplaying. The rhythm of this old StanleyBrotherstune asdoneby The Kentucky Colonelsis a more ploddingkind of X meterin which all four beatsof the moasureare felt more slrongry than in typical j bluegasstime. Wifiin this rhythm thereare subtledifferencesin pairsof eighth notes ( lf ). Someare playedv.ith consecutivedown-strokes(ft n)for a-squarer, more insistentfeel (measures3-4). Otherchavemore ofa lilt ( Lf rendstoward ffr"r" areplayed.witha down-uppick motion (n V )to get a bouncierr-hythm(measurel7'and9). Be sureto tune the low E stdngdown to D. -]).

20

A Lifeof Srrnow$oumey'sEnd) Tune low E stdngdown to D Capoon 4th fret.

Ralph Stanley CarterStanley

(! n v.t

5G(?)

d

,*,

\Ji

\.) \rt \.) t.) \.)

\'.,P + J

, l?n n n .N

-

a

AFi

ni-|rn,nnn (v i nvl tl

n nn n n v li v

n

-::J,2

n( c nv nv et c .

t

n v n vn

n0.:.(D ]

(etc.)

(X

11 n

r lV

- v " n" vltv

Copyright 1952 by Pcer Int€oatiotul

nV) (etc.)

Corpohtioa

Al Rishts R€sned'

2I

MountainDew N€N Dincnsionsin Banjo md sluerras

The next four tunesaretaken from New Dr.mensionsin Banioand B/&egldss. The albumis still in print and containssomeofhis bestplaying.It is alsoavailable,with a coupleofextra tunes,asthe soundttacktecord frcm the movie "Delivercnce_" This one is a fast, exciting break.In measure9, notice the consecutiveup-struK€s resultingfrom the pull-off which startson an off beattseealsop. l4). Shortenthe two high G notes in measure13 with a little left hand damping.They shouldbe piercingand accented,but short. The age in measures9-1I is very impmvisatory.Listen to th€ recordto set a better \enseof \ hJl I'm attemptingto represenL hcreon naper,

Tne Kenluckycolon€t!.I ro R: Leroy vdcl'.lnc whire. Rolandvhite, BiIy Rry Latnam,Cl,Jenewrxre

22

MourfiainDew

(n

Scott Wiseman L. Lunc€ford Bascomb

vn )

)

o-

e_i r

-Fr'

(n

v

(n

n nv)

v n

(n

copylisntO 1945Tann€nMusic,Inc AU RishlsResened.Usedby ?€missior

nv

n)

v)

NoTifleYetBlues Nes Dinensio6 in Banjo andBluearass

Somevery snazzycrcsspicking here.In measure3 watch out for the up_sttokes usedto play the syncopatednote and the note which follows (seep. 14 In meaiure I I he uses ). "rolled" gracenotes.The gracenotes,alongwith the main note, arc playedin one swelng down-strokeso that the melodicnote ringsstronglyand clearlyon the beat.

No Title YetBlues capoon 2nd fret

'

J ti

EricWiessberg

t_aJ-

\-r

(n i ?X?l YNn

nav nnv

nv

FVnVI.V

vn

Am .u 1

e

j. (n

-

Jt. v nv nv

Am

U

IJJ.J

-+ e

J l'r

J F

l. -t rr a

ul

t0

Dm

-+ e l.l Fl+

n-

e^

r€) 1970 CaluaProductions.Alt RishrsResned. Usedby pernission.

*Pick the openC stringasyou hamme. the sccondfret of the D stdns.

n)

Dm l5

Am

,

(n

NNV FNV

n v n \i n v

NN

V F N V N

(nV|rVnVn

Nl. lV F I ' I V

n v nv n v n

nv

v n

n

rtd

f)

n-

-)

BugleCallRag New Dimensionsin Bojo and Blueras

bluegrassbreakdownbreaks At this This is one of his morc intercstingmile_a-minute rhythmically, althoughin measures 9-10the than usual mmplicat€d ternpohe'sa little less syncopationis p.etty uncanny.Be particularlycarefulwith the timing and pick direction here.The recordingitself will giveyou a better ideaofhow to play the strumsin measure8-

B,lgleC,olIRag

J. Pefli B. Meye E. Schoeb

(G)

"

)Jt

c

G

a .y'

G

c a)

l0

t>v

( VF

( V i I l) Copyrishr O 1923byMiIs Musi.,In.,,Copyrishrrenewed 1950, Usedby Pernission, A RishtsResened,

26

G

FNEV Fl nVV)

FarewellBlues New Dinmsions in Bdjo and Bluesras

This is my personalfavorite.It's an intricatelyworkedout breakwith the most effectjvc I've everheardon the guitar.Rolandmadeno bonesabout his fondness useof crosspicking for it: "Oh, I usedto just threatenhim, if he didn't do that, I \rasgonnabrcak his guitar-I 1-2,56 and sections(measures lovedthe way he did that." ,in the crosspicking l7-23), hold the left-handpositionsto build a layeredtexture of soundAlthoughthe solo is complex,it's gracefuland not at all awkwardto play. It js well guila' designed for playingon an acoustic

FarewellBlues E. Sclroebel P.Mares L. Rappolo

capo on 3rd fret

(c)

c

G

I

(v)

rr +t_l

fi i!rvrl

lJL,l (nn

n n

vn n)

FN

-

Yt n"v)

r

l tt

CopyrishtO I 923 ty Mils Music,Inc. Copyrisht rcncwed1950. Used by ?emnsion. A[ Rights ReFryed.

* Pick the G stringasthe openD is soundedby th€ pulloff.

27

F invirv (n n v n v n v

nnvn n vnv (n |r -

n a Vnnv (|1 r.1 nv nv

n"n V |.1n V n N V F l V NV

N

t1 V n Vn V n -VVn V F - lV

nn NV

V nnV n NV NV N

nnv nn NV NV N

vn

nn\/nn nvnvn

VN

n rrv i

O

V-

n v

r-l

r- i n

n n

nv FV

n n Vn n Vn V

vn. vnJ

n F Vn F vn . n Vr ' 1 ) lr v -V

V. V.l

seventhfret of the D strin *Similar to the above; pick the G stnflg (sixth frct) as you arrive at the with the slide.

2a

D(7)

25 A(?)

E b (7 )

T-I

E

81

E

30

*

fi..r lE

-F

l)

+

v

G

30 T

J

..'-

v

.\-'.

e

2)

* The last two linesof tablatureare two sepamteendings: l) As on the iecord, moalulatingto the key of E on the guitar' (Actual key of G becauseof the capo position.) 2) An cndingin C asClarencemight haveplaycd it had there beenno key changc

29

tl

,onn Henry Clarcnceplaysthis one pretty fast with a strcng,ddving pulse.The breakis ext.emely characterjstic ofhis style.Seep. 18 for further commentary.

phn Henry capoon 2nd fret

Traditional

C

.J

n nv nv

\vn a t-f-

e - r n

u

n

-

Vn

i .l VJ

--tl-

|J-L,,J

(v v

vn

- 1ll

11 n

n

nv nv

N V' -V

c

|1nva|.t (nVnV|r

t0

u-J-,t N

F

NV

l'-J

FV

- nv

30

n

F

nv)

I

(n v

v

v

v n

n

Vn

V n V

N

Vn

V N

VF NV

V V

V. V)

-

(etc.)

N

(-

VF

V

r1v v

V

v

nV

V-

n

nv

N

VN NV

V V

(etc.)

31

SallvGoodin It's interestinghereto seethe differcnt waysClarenceplayedthe fimt part of this tune' PartAr (1964) follows the melody closely.lt's pretty straight,but hasa f-ewtasty twlstsAa (1973) is slightly more improvisatoryand prcsentsa vadationof the basicmelody. Finally,in .4.2,A3 and A5, he probesthe depthsof the tune with much more exploratory improvisationand somereally greatlicks. Stjll, the melodyis clearlythe inspiration You'Il find touchesof syncopationthroughout thesebreak. At the end of Part A1, the last note ofthe sectionis tied into the next measureand becomesthe first note of Pafi l0-l l ). Br aswell! (Measures Part A3 : Notice the down-strokeson off_beatswhich areusedlbr addedemphasison someofthe slidingdoublestops. Be rcady for someheavysyncopationin Part 82 (measure9 ), and enjoy yourselfon Part A5 it's terrific guitarplaying!

Soily Goodin(tw) Traditional

capo on 2nd fret

PartA I G

'u

,:>\-

D

a)

G

,'Fr'-"

a ( |1V

a

(n

(vn

n)

(vn

tr

v

+ tl

lJ

(-v

v11v n

nv)

'p.t"

fr

. F l. >

a)

(v) * Rolled gracenotes:sebP'24

>

Someothervariationson PartA (1964) Part A2 G

-J

(n

(n v

NV

V)

vn )

PartA3 G Q

Yt

I

r

(n

vF)

n

f |

(vnv)

(n

7

-.

v)

=>

nn

nV V vn)

-

SollyCoodin(tgzs) Traditional

capoon 2nd fret

G

Part ,{4

f,r_ (n v n v vn

D

v v)

G

a'----/

Part82

( n n Y " Y -v

vn

15

(-v nv

v)

n

v)

D

G

PartA5

20D

.FJ' (l

-\

NV

VN V

G

F] V

NV

V-

-

D ,!t

(n nv

\-t

'\J

v-

\-' V-

+ nV

vn nv)

-V

Billy in thelowground You'Il find it in severalother The triplct figurc you seein measureI is very characteristic. brcaksaswell. 1l-12, you'll seehow 3-4 with that jn measures If you oomparethe phrasein measures age The flrst accentsthe fourth beat Clarencewasableto cont.ol andvary his emphasis. vividly of the measure,the second,the "and" lollowing the fourth beat.Theseages displayhis distinctivesenseofphrasing. Part B l usesa delightful combinationof syncopationand melodic crosspicking.Hold down the notesin the crosspicking(measuresl9-22 ) for that "stringy," free-ringingsound.

I

Billy rn the Lowground Tradirional

capo on 2nd fret

(n

(n

(r'1

( n v ? v nv )

F

vn F

VnV)

Vn

n

V

vnv

-

v v)

PartB I

(n

nll

vn v

(nv

VFNV

VN.

V -NV NV N V

VN V N)

nvlrv

vn)

a) l

,"6i?;L

n nvn v rJVn

n "n

nn)

Fi

c

G

30

ul

,N V N11V (|1 NV NV

n -

* Don't bend too much. Just chokeit slightly.

; . VNV

V -V -

-.tert'

e V . V - V V n)

(alternatePart B) Part 82 C

(n V

V)

( 3i)

T.

(nv

,o

.}

(nv

v)

v)

(v) (,3

rrv

(-v

v)

l,__J-_

Listento theMockingbird Played at a medium-slow tempo, this is a beautilul and delicate version ol the tune- Aim fbr a pretty, clear and ringing sound. For example, the fi$t note of measure2 is written as an eighth, but let it ring to hannonize with the open B string which follows. Likewise, hold the ncxt note (second fret of the G string) xs you piay the one after it (fint frct ofthc high E string). Clarenceis playing a harmony to himself here.

Listento the Mockngbird capoon 2nd fret

(c)

c(?)

(v)

(nv n v

F] V

v nv)

G(?)

40

10

|1 V

V

F

N V N V- V)

* f.,I

releasingvour left hand prcssure' : fade oll the note by sliding down the string while slightly get a sort of "sighing" effect' A clearlv articulatedslideis not hear'l. Instead,you should 4l

c(?)

iJ

l#

c(7)

e)

'\ t t /

-

(n tv

Yn

d 'w' v vn

-)

Nine Pound Hammer This cut contains some of the most impressivebluegnss guitar playing on reco.d. Clarcnceplays five separatebreaks, a1lwith a sp.rntaneou"feel. Nev...t.uying too fu. fiorn the melody' he managesto turn out one mouth-watering phrase after anotherl The musrc ilows wiih an energeticef'fervescence that only in thc finest musiciansgoestranA in ,ruu with such convincing ideas. Hisfi$tfourbreaksarepresentedhere.Makinguseofalotofniccblucsylicks,rrey demonstratejust how much can be done when a g.eat imagination is turn"j foo.. o" , 'inrpJcbluigfrssrunp. l \e u5edr..enl mJrks more c\trn\ircly In llresi lr.rn\crjption.,nan allcmpt ro cnr\(! lhc Und ofpulce rhat Cldfincr actir\e\_

Roland,itc, md Cldence White

+5

Nine PotrndHammer lst Break: The accentedslidc in measureI is one ofClarence,s trademarks. Ile echoes and reinlbrces the lilst note of the measure(open G) by sliding into thc samenote on the D string. These slides also found in measurcs5 and 6 are highly charge{:land should sound like mlnor explosrons.

capoon 2nd fret

a

9,

Tradition&

.1:'

oJJ -

(n rrv

VF)

v)

vn

(vvn )

(n V lr V v -

n)

2nd Break: 8_l l. In measures9-10 the Sometricky right handanticshere.especiallyin measures parentheses hand damping and soundmore l;ke rhythmic muffled with left notesin are prominently. There's a lot of rock and roll in clicksthan real notes.The hammersareheard this age! G

.J

<-2

a-

D

G

v

a-J

(n

tr,/

G

t3

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nv

_ ,w F)

10

c

UF --

nn

).u

>-

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y,q + .Y.+"

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(nv

v)

B

3rd Break: This solo startsoffwith intenseenergythat buildsto a iienzicd outburstolbluesy norcs in the tburth and fiflh measures.

(N V

V

VNV

VN

NV

V)

-

l0

(-v

o- ]o f)^ "

c

4th Break: Clarcncebegins ts he does in the first break, but notice how freely he gets into sornc!rung different. One vcry distinctive touch concs in measures 9-12 . Hc starts with a phrasc built arcund descending sixths, and ends up playing a whole agein two voices, ch.lracteristicallyskipping acrossstrings t'rom trcble to bjrss.

ria -al._;i

D

-ut

a

(P

G

o

t.

D

-

\.lt

l5 G

' j'frt:

-'t

_-i

a7

+ 17

I'maPilgrim This is probably the most complicated of Clarence's recorded solos. Given the clbow room aflbrded by a slower tempo, his command of complex rhythms is working overtime. Throughout this tune there is an underlying rhythnr of ejghth-note tdplets- In the inlerest ;f sjmplilying the notation, *nat's written as J ii actLrallyplaycd as i"-p = ' ln the middle of the break he lets fly some rapid llre notes which are besi describedon paper as rcgular sixteenth notes. In these agcs(measures 19'2O,22 24 and 28-29) tltc beat is divided into four parts rather than thrce. The opposition of this new division to the prevailing triplet feel, and the speedat which these notes are eftbrtlessly recled off, combine to prcduce an efTectthat will sruely make your jaw drop. At this tempo the pick direction follows no simplc rule. The ones I've indicated seemto me. after many ear-iatiguing hou$, to best rroduce his sound l think it's a pretty accuratc rcconstruction ofthe way he pickcd the notes, but jf you ind that something else better suits your own right hand, you needn't feel bound hand. foot and pick to my I hope you ha\c a chanie ro herr tht recordirgl -ug€rcsrions.

Im o Prlgrim

Traditic

capoon 2nd fret

l t Fl

nn

nn

--n

n - v n-

,18

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(etc.)

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BarefootNellie L ivin inrh e? asl(1964)

Shot from guns,out and out flatpicking.Playthis twice as last asis humanlypossible and Clarcncewill still beatyou to the finishline. capoon 2nd fret

Traditional

J \.lh'J

ll

G

a

rt-l_,J

l0

D

F

15

G

Sheikof Arabv Li!i. in lhe Past(19641

li was a real shocker to hear this tune played by a bluegrassband back in 1964 and Clarence'sstrange guitar playing makes the performance evcn more surprising. With an impossibly active right hand, he plays a kind of accompaniment to himself while the melody emergeson top. Listen to the record: try to get a senseofwhich notes fotm lne melody, and play so that those notes are prominent. His second and third bfeaks on l-lle record are even crazier.

Sherkof Araby

H. Sm T. Snyd F. Whee

capoon 2nd fuet

n

nv n

1 1 n n v- v

-

c

I

- f -ri

n

V. v ny

V

n

V

-

(--+

nV

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ntr

v

v)

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Vn

V

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t7lf r7lt (r) jat'l'tt''V

e

t7

(vn n v nv

aJ

r+.

n n+v

n

r+ -

n n nv av

J

\r) \.) (F n Vn

l.l

nVn

nV

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(J) O ('l v 1 1 V n / . r V n vJ

-J)

TT

V

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f^^ f-^ v r)

Y^. V. Y

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n

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NV

V

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n. v

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v)

New River tain

The (entucky Coloneb 1965-1966

You might heara little Doc Watsonin the first breakand a touch ofJoe Maphisin the second! capo on 4th fret

(nu

(n

Traditiona

n

nv nv nv n

I Y^^ yr_.t

c

"

jJ

j...

l0

\J

l-r+,

rrtl

rsc !-LJ

(nv 0

54

F

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JJJt

G(?)

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vn v

t

o - .JJ

I

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NVNV

V N

V Fl

Vn ) -v

(n

t' n

v)

b

F

*

( n v nv

nvnv

vnv)

Soldier'sfoy On this old fiddle tune, Clarenceis about asstraightforwardashe gets.He showshere that he can run with the bestof them in this more standardstyle of flatpicking.Cornpare this to his morc typically unusualarrangement on ..TheNew Soldier,sJoy.,, -

Soldier's Joy capoon 2nd fret

Traditiona

ta)

-

aa- J

- .tl.

*

H -

10

'J

c a)

c

c

F

_-l

l-

G

The Kentucty Colon6b at N.wpo.t, 1964. L to R: RoL.d lvhite, Bfiy Ray Larlm,

Ct tdce Vlire, Rosq Busn

TheNew Soldier'sfoY TrrcXeniucky Colonets196566

"New" is ight! Clarencegetsa strikingeffect by tuningthe A stringdown to G and playingthe tune jn G (a capoon the secondfret puts it in the actualkey of A) The solois by the droningofopen strings(G-D-G)and a rangyright hand that glidesback characierized and fofih acrossihosest ngs.The low G stringis the mdn drone,so let it ring whcnever in measores 8-10and21-23)' yoo hit it (for examplc, solo by ofPart A, the bandhighlightsClarence's a.rangement In the KentuckyColonels's up into a B then opens Part measure of every first beat on the simplystrumminga C chord more nomally flowingrhythm.

The New Soldier's/oY A stringtuneddown to G capoon 2nd fret

Traditiona

Part A G

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10

T_

z

1. f

a

t 'rJl (v)

tJ

.

1. ,

<-

U'

!J

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. ?_iJ

t 1- 11

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+

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J

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u

a

1.

-+ -+ t ta i

j

\J

( nv

v

+ a

'+a

(n v

nv + r

T

n)

't | ]!

--1

r+

7 I n)

( nv

I

v

v n)

v v

vn)

7

\tr /

+r+

/l

7a

v v vnv)

v)

fulius Finkbine'sRag

II

Livin in ihc Pasl(196s)

(Answer Seeif you can guessthe real title to this one Hint: it's an old Texas fiddle tune below-) Taken from a live recoftling maaleat the peak of the Colonels'sactivity' this break will put your dght hand thrcugh some anxious moments. I'vc gjven a couple of suggestionsfor the fi$t line. but I'll leaveyou to your own devicesin the syncopated agein measures 9- I 0 . and in thc crosspjcking section later in the tune. Be surc to play the sixteenth-note pull-off (as in measure4) very quickly so that the following no; falls squarely on the off-beat This kind of little flurry had become setond naturc to Clarence, Measures5 6 : Clarenceskips acrossthe strings to play the low G note as a drone while thc melody continues on the G and D strings. Starting on the fourth beat ofmeasure 5' hold ()1-the next down the low 6 and the F abovc it with your left hand until the fourth bcat measurc.He gets a similar effect in measure27 Measures17-22: Again, holl the left hand positions so that the notes in the crosspicking patterns linger a while. M.asures 23-24: This phrase is a real cutey. Thc descending,then ascendingline on the B string(8th fret,7th,6th,7th,8th) shouldbe emphasized.

Tr adi

capo on 2nd fret

(c)

( - v nv

c

! ctzr a )a

T

(r

Ff{ }uount.{ lr.asre

1

- jjt v nv n)

.fi.

ee (:)

20

G(?)

.aee

c

G(7)

ll*

" c(?)

2 sG ( 7 )

Q

2_'

(v)

'-\t

'YJ

J

0vl

r'

(v)

* Bend the lower note of the double stop with your secondfinger as you hold the top note steady with your index finger.

6t

Alabamafubilee Clarencebringshis usualarrayof syncopatedrhythmsto this ragtimeychordprogression. But what makesthis solo particularlyrecognjzableis his useof the droningbasssrnng (measures 1-3and 7-8) ashe playsthe melodyon higherstrings.(Seealso,.JuliusFinkbine's Rag," "The New Soldier'sJoy" and "The Sheikof Araby.,,)He combinesthis effccr wrth a somewhat unrBuaicrcsspicking pattemjn measures l7-i9_

Alabamalubilre capoon 2nd fret

GeorseL. C

(n-

n n)

i D(?) f

rir

h

n-

(n

v|1)

nv

O t9l5 Wrner Bros,,Inc.CopyrigntRenewcd.All RightsRes.fled,

62

ll"-'/

( nv !

''J

un

\!_7 Jr-

ltu

nv

v| .1

7

-+

T

fi v

V

V,|

- VNV

eJ

r- /-+

-+

eea -+\-, (nVn Vn V- V

" _. ftJJ

<-.(x)

-+e

nvn)

. (v)

G'

iu*

fiqi

'vtt

(n v

t

v)

+The notes in parenthesesare muffled with left-hand damping for a slightly funky efiect.

Jbt

If You'reEverGonnaLoveMe This is a very nice breakto a songco-authoredby Leroy Mack,former dobro playerwith the Kentucky Colonels.The beginningis pretty and melodic and leadsto a very nifty phrasein measure511'12the accentednotespredolninate.Hold eachof them for a full two In measures beats.The highernotessefle asembellishment. The tdplets in measure13 arevery fast and arehard to play cleanly.This wholc measure reallydependson a quick and limberight hand.

6.1

If You'rcEverGonnaLoveMe BuckGraves l.eroy Mack

v

HH

?J

,.J

(n

v)

I rl

'--.1

ilty blflt AfilJ'- ' '("?

l-s

+l-J

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I oDJTEh LOlo-J b r t ar edopuot i* r ionr ,Bu. b. 1t , a br r . c t j r r o . AU Risl'ts Rerned. Lrsedby Permtrsjon.

ll'J n Vn V

'-\+tJ._ V-

V)

€

Dark Hollow Another heavily syncopated solo fueled with improvisatory, jazzy phrasing (as tn mcasures 6 7 and l0-11). Play the doublc stops in measures6_7 by plucking up with the second and third fingers of your tght hand. Pick thc lowcr. singtenotcs witl.r down_strokesof th" fl";il.'ii".",r"" used this techniquc occasionally in hjs bluegrussand more frequcntfy in fris.iectric gu,tar work. Don't sloat roo much about getting that plr** a.\v" tf,."J, fr;;;;;';;i"".., lightcrlinglast tdplct to dcal with in the nex. measurel " This tune is playcd at a moderate tenpo, so the piok djrection is quite flexible ir spors. .,

u,ndardrxte(alrhough Ctarencc probably mJe'"_*nlj."ri"

ut :::1,:i' some 1.u.'"11t. playng of the n,'oreheavily accentcd syncopatcd notes ", "u with ao*n"irot"r.'r" tl. fir.t line, with its iong stringoforlbcat notes,you may want to'sc a down-strokeor two. l,ve rnade some suggcstions,_but at this point yolr should feer free to 1bl1.* .r*, v.r.'i"rti."._ bc surc that what you pray is rhythnricelry correct and that it makcs ..nr. ,, io|:'"., .,nprru.i,

Rutrd J nJ Ct r enr t J r LheAs h c r o! e

66

Dork Hollow capoon 5th fret

"

!=,1r'n

-lt-J

(Fv

vn

(v nv

. a_. -_-

+\ +.J-,--. . VVV

llV -

n

iu'brEl Vn

nV

V)

n

v

(n)

l(n

(V

* Let thesenotesring.

V)

v

: u + nY+

n V |'1 "n ( NV V V

V V F vnv

vn

vFv)

n

v n)

Backup I'm a Pilgrim Clarenccoften took thc liberty of providingmeloclicfills and backgroundrexturc behind the singcr or the other soioists.Ilcrc he highiights rhe spacesin the mclody and complementsRoland'sbreaknicely.Try playingthis part eitheralongwith thc recor.l,jf yoLr'relucky enough1l:)havcit, or while somconeelsesi gs or playsthe iune. This is a trilnscriptionol-Clarcncc's backup to Roland'ssccondbfcak.

l rl ::1 :::l i l ,

]]..'

' r,t,:,' :

.': ,

t ...;n-:"i;,iir'

rl rf !

'l

I

I

68

I'm aPilgrim (backup) capoon 2nd fret

l0 G 7 tt

t.

--_;

.t

7

| \'.-t'-

C

q NH

Clarence\ regular bluegrassbackup was alwaysstrong and steady. At the sametime, it was usually tinged with syncopation. He used some unique stnrmming pattems analhad his own way of playing bassruns. What follows here is not a transcription from a particular tune, but a backup afl.angementto a typiral bluegrasschord prcgressionusj;e many of Ciarence\ favodte backup licks. ln pmctice, he wouldn't use this much svncoDationin one chorus-it would genenlly be intempened with more straighrforward b;cku;. Here it is presentedall at once to give you the most in the spaceavailable.The two basic effecrs you should notice are syncopatedbassruns (measures2 and l2) and syncopatednotes in rne strumming pattems (measures9, 10, 11 and l3) G

. :tE--

+l

.

I

t

rlJlr (nv

lr

N V FV

V .V

V

F

n

V nV

fl

n

vn )

v

n

V nV -

(n

r:,

F)

(nn

(]1 v v nv

rl

Jit+ tl - t-

n

V1 1 V)

Discography BluegrassGuitar: The Kentucky Colonels New Sounds al Biue!
CaLrtels II The White Brothe^ The White Bnthe\ (The New Kentu(ky Colonel\) Tut Taylor l:-Sttins Dobro Dobro Country Eric Weissberg,Marhsall Brickman & Conrpany New Dinentbus in Banjo atld Bfuegra\s This record is alsoavajlablc,with extl? curs,as rnc soLrnLltrack to the movie,,Delivcrance." entitled: Du?line Banio! Country Cazette Don't (;ire Up Your Du.yJab

*Briar109,1963 (out of print) *WorldPacificST/WP1821. l96zl(out of pdnt)

Liberty/UnitedArtisrs,Lrd., UAS-29514 (out of print) Rounder0070 Sierra-Briar SBR4202 Rounder0098 Roundcr0073,I973 WorldPacificST/WP1816 (out of print) WorldPacificST/WP1829 (out of print) EiektraEKS-723E, 1963 WamerBrothers(S)B 2683 United A isrsUAR-LA090-|, 19t3 WarnerBrothel.s 852787.I9?3

Electric Cuitar: Thc Byrds Sweetheartof the Rodeo Dr. Byrrlsand Mr. Hyt( Tlrc Dalldd oJ Edsr Rider Untirled 1hc Best af The Byftt! (Crcatest Hits Votume II) Joe Cocker

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Ahoul3ttheAutllilor:r Rusdl Barenber!k one of today's flne,st blreorassguitarists.Over the yea6 he's alsobeen involvedwith bluesand ia,z, and hasdevelopLdhis own distinctlve style reflectinga wide rangeof m!sical inlllences He hasremrded wilh such notablesas Counlry Cookins, Tony . lss Tri sch k a,and F r ankW a k e fi e l dR presentlyresidcsin New York Ci1y, where he is an activeteacherand per fo rme r.He play swlt h H e a rtl a n d sa,w o n d e rfu l l yec lec t icm us iclro L p , a n d i s c u F re n 1 1wor y k ingon hisow n a l b u mfo r Russis ale the author of How to P/ay Btueg.ass Guitar \A.on Music Press)and feath You6elf B ltEg.ass Gu/tal (Amso l\/lLrsic PublishinsCompany)

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