FINEERPTCKINE F O R M E R L YS O I .

O S T Y T E

How lb Plcry
Alferneillng.Beiss
Flnge@e Oulfeir
Solos
By tleirk Hanson
INCLUDES:
. l4 Guitor Solos
. 7O-Minule Instructionol CD
. Stondqrd Nototion & Tobloture
. Tunes ond exercises ployed or
slow- ond pe#ormonce speed
 The Art of
SoloFingerpicking
How to Plav
Alternating-Bass
FingerstyleGuitar Solos

Mark Hanson

CD Program
l. "StrawberryCurl" 24.Exs.41A-C
2. IntroductionandTuning 25.*8111Bailey"slowly
3. Exs.7A-B 26. ..Dedicatedto MississippiJohn Hurt"
4. "Red,White & Blue Rag" slowly 27. Exs. 46A-B
5. Exs. 13A-D 28. ..GoldenValley"
6. Exs. 14A-F 29. "Flier" slowly
7. Exs.15A-D 30.Exs.58A-C
8. Exs.16A-C 31.Ex.59A
9. Ex. 17A 32. ..GoodTime Blues"
10."Devil's Dream"slowly 33. Exs. 62A-8 & 63,4
11."FreightTrain"slowly 34.8x.64A
I2.Ex.22A 35.Exs.7OA-B
13.Exs.23A-D 36.Ex.71A
14."Fishin'Blues" slowly 37. "StrawberryCurl" slowly
15."White HouseBlues"slowly 38. ..Red,White & Blue Rag"
16.Exs.32A-C 39..,Devil'sDream"
17.Exs. 33A-D 40. .,FreightTFain,'
18."Over the Waves" 41. .lFishin,Blues',
19.Ex. 36.\ 42.,,White HouseBlues"
20.Exs.37A-B 43. ..Bill Bailey"
21.Ex.38A 44.,,Ftier,,
22."Etude" 45. .,TWinSisters,'
23. Exs.40A-C
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 Contents

4 Introduction
What You NeedTo Know
The Music And Cassette
5 Hand Position
5 Right-Hard Position
o Left-Hand Position
7 Alt€rnating-BassFundam€ntsls
8 How To Practice
t0 'Red,
White & BIue Rag"
l3 Beyond Pattem Playing
IJ FreeingThe Fingers
l3 RearrangingFinger Notes
l4 Variations On Rearranging
14 Deleting Finger Notes
15 Adding Finger Notes
18 'Devil's Dream"
20 'Freight Train"
22 FreeingThe Thumb
24 "Fishin'Blues"
27 "lVhite House
Blues"
32 Alternating Bassln Other Meten
32 Quarter-Note Meters
33 Eighth-Note Meters
34 "Oyer The Wayes"
36 Additional Thumb Techniques
36 Thumb PlaysMelody
36 Overlap Of Right-Hand Thumb And Fingers
39 "Etude"
40 Right-Hand Rolls
Q Three-Not€Rolls
4t) Four-Note Rolls
42 'Bill Bailey"
4 'Dedicsted
To MississippiJohn Hurt"
46 Fi!€-NoteRolls
48 "Golden
Valley"
52 "Flier"
5E Damping
58 Left-Hand Damping
60 "Good Time
Blues"
62 Right-Hard Damping
63 Rest Stroke
g Combining l*ft- And Right-Hard Damping
66 "T\\/in
Sisrers"
70 Gaining Speed:Left-Hand Articulrtion
73 "Strawberry
Curl"
76 App€ndices
76 AppendixA: Tablature
77 Appendix B: Glossary;Guitar Information
78 Appendix C: ContemporaryTravis Picking Pieces
t0 Acknowledgements
t0 The Author
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 Hand Position
Right-Hand Position
The TravisStyle
Merle Travis producedhis char-acteristicsoundby muting thc bassstrings with the
heel of his right hand (Fig.
1). This techniqueproducesa beaudful effect but seriously reJucesthe angl;
betweenthe Thumb ",iJ tn" .t ing.,
making the guitarist dependcnton a trum'T'ick. I prefer to klep the right hand
free from the iop or ne guitar (Fig. z).
This position allows the full sound of the guitar to projec;, etmi-natesthumbpick
dependence,and providesa
techniquethat is more easily adaptedto other stylesof piaying.

Fig. 2

HandPosition

using no picks, cup ttre palm of the hand above the sfiings, keeping
the fingers logether and fairty straight.
cross the Thumb over the Index finger so that an upside-down"v" is
formed betweenthem @ig. 2). stretching the
Thumb beyondthe Index keepstrem from colliding when they
are picking simultaneously.
The fingen are pulled upward across_the-strings primaily by the large tnuckte (the connectionto the hand),
rather than by excessivebending of the smaller knuc es. me rnuittu
.oues from its base,remaining strarghtas it
plucks downward. The hand itself should remain almost
motionless,with all of the work done by tie rnumt ano
fingers.

Please note:

1) when playing accompanimentpattemsin the alternating-bassstyle, the frngers

of the Right hand should
neverrest on the s[ings beforeplucking theT. In sols ijrcgrplckllg, howiver,
a fullihapter rs oev;iio to oamping
the fingersof rhe Righr hand. But until you r.oin pugi oz, try nor ro restyour Righrhand
:gig:,_yr^h
me srln!s- fingerson

..^ rrngerpickers
resta finger-ortw_o three!)on the top of tie gnitaras they pick. I recommend
"free .2) !9me _(or - tie
hand"posirioninstead,so that thelndex, Middle, anrrIiiog nn!"ii au a." auailablefor ilircking.
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 Alternating-Bass Fundamentals
Four TravisPick Patterns
The Travis Pick style is characterized,byan altemating-bass
patternplucked by the Thumb. The meter is
almostalwaystwo or four beatsper measure(214,414,6/g,or {Z/g).

RuIe #1: The root note of the chord is alwaysthe first noteplucked by the Thunb. Rules
are madeto be
broken,of course,but adhereto Rule #l for the time being.

Ex. 7A showsa standardbasspatternin 4/4 umeon a C chord:

Ex. 7A

r f

To producea complete{ravis Pick pattern,treblenotesplucke.dby the Right-handfingers are addedto the

To$ patternfrom Ex. 7A. The treblenotesmost often nt into one of four distiict patterns:Finch,Inside-Out(I-
O), Outside-In(O-I),
Ad les9g1ding-Arpeggio(D-A). All of theseparemsmay be playedby the Thumb andIndex
finger alone(asMerle Travis did). However,plucking with the Middla and Ring nngers--inaddition to the Thumb and
Index--providesmore variety and a fuller sound. At one point in Solo Fing6rpic-kingeven the Little finger of the
Right handis incorporatedinto the picking scheme.

Ex. 78 illustratesall four Travis Picking patterns,pluckedby the Thumb and threefingers. In general,
the
Thumb plucks the threebassstrings,the Index plucks the tlird string, the Middle plucks the second,
anOtne ning
plucksthe first. However,chordsttrathavetheroot noteon the fourth string
@7 in ,n"**" 2, for example)do noi
usetheRing finger for plucking.

Measure 1 of Ex. 78 illustrates the Outside-In pattern (so namedbecausethe outside finger
[the Mddle or
Ringl plucks before the inside finger [the Index]). Measures 2-4 illustrate the Inside-Out, pinch,
and
Descending-Arpeggiopanems,respectively.

Ex. 7B
O-I on C Pinch on G D.A. on Em

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t ,
i p
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Red, White & BIue Rag
"Red,
White &-Bfue Rag" is a ragtimepiece in the style of guitar legendDoc Watson.
It usesmainly the
pinch pattern, with slight variations. The piece is very rirnit-
to "ovir And Out Rag,, from The Art of
ContemporaryTravis picking, and worksnicely asa medleywith iu

PerformanceNotes:
l) All C-chords: Fret the fifth- and.sixth-stringnoteswith the left-handrlng
finger, either altematingback and
forth, or frening both at ortce(if you can manage). That leavesthe little finger
availablefor melody noteson
the treble strings.
2) All F-chords:The sixth string is frened by the thumb. A barre-chordfingering
may be usedfor the F-chords,
with the ring finger fretting the fourth string, 3rd fret. The little finger then is
availablefor the second-string
3rd-fret notes.If.you can't manageei0rerF fingering, try this: Ptuct-ttreopen
flfth string in place of the
sixth-string notes, requiresyou to finger only the four treble stings.
lhis
3) All G-chords:The left-handrlng finger fres tt".l*tt ,rirrg.
4) MeasuresL7-18,25-26:Fingerthe'Dm-chordsasmarked(index,middle,
andtifde). That allowsmucheasier
.accessto the subsequentG#dim7_chords(measures
19 and2ll),
5) Measures2L tr.d29: Finger the Em-chordswith the index finger on the four0r
' easy string, 2nd fret This setsup an
fingering for the subsequenthammer_<ry'slide.
6) Measures22-23 md30: The altematingbassdisappears.
5) Measures31-32: The suggestedc13 fingering is miaat on fourth string,
thumb on sixttr, ring on secondstring,
moving to the first stringfor the Gl3*.

rmportanfi The melody must stand out. No matter how interesting the
accompaniment is, it is just that:
accompanimenl And remember, don't play oo fast too soon. Srive
for good t6ne, .r*n pilying, and solid rhythm.
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 Beyond Pattern playing
FreeingThe Fingers
In this chapter,we will breakaway from the restrictionsof
the four basicpatterns. The goal is to be ableto
pluck any string with any finger at any given place in
the measure;rhis wilt allow you ultimatemelodic freedom
the TravisPick style' For the moment,thealternating-bass in
patternprayeoby the Thumb will remainunaffected.

Thereare tlree ways of breakingaway from pafternplaying

with the fingers: l) Rearrangingfinger notes;
2) Deletingfinger notes;or 3) Adding nngernotes.

RearrangingFingerNotes
Each finger will continuerc pluck its delegatedstring:
Index-thirdstring, Middle-seconds6ing, Ring-first.
@ememberthe exception: when ttreRoot noteis, on the stringana the alternatebassnote is on the third, the
Indexfinger plucks thesecondstringandthe Middrefingeifouith
pructs ne,6rrt. Seepage7).
Ex' 13A showsa normalpinch patternon
a c-chord, using four strings. Exs. 13B-D also
patternon a c-chord' but eachhasa different use the pinch
sequenceof treblenot"i. Noti.e in Ex. l3B you pluck
and Middle finger only' In Ex' 13c the treble with the Thumb
nops ar-epluckedby the Ring and Middle fingers.
rndexfinger on the first beatof
pinch.
(rhistectrnique
*.ur..a fortherrstrimeinm*sure4 of ,,Red,
il,Tli:3:,,T":Tifrt whire

Ex. l3A Ex. l5u Ex. 13C Ex. l3D

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I I !

The rhythm of the original pinch patternis intact in

all four examples. The sequenceof reble notesis all
that haschanged.Again, makesurJeachiinger plucks
only its oesilnateostring.
After masteringtlese four exercises,practicerearranging
theRight-handpicking sequences
in the otherthree
basicpatterns.start by usingonly onectrordso you
canconcentrateon the picking hand.

13
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 Adding Finger Notes
The third method of developing finger independence
in the alternating-bassstyle is to play more finger
notes
ff#",f*'ffi"J;l;il?li"f;,f:f ;f*X;,hi;;;;;l,iJnng"..,irv"*nier'in-o
w'rbeaurJto
pruct
For most of this chapter,the fingers of the Right
hand no longer are assignedto particular strings.
pluck whicheverstringis requiredby the-melody. They
-et nit it ruy'nut
i""iu*kward o pluck the fint stringwith the Index
tr'iiaat" finger,
forinstance. *rt ,o,n"p.*ti.", piu"ringanysringwithany
ffi:'fiBff: *il'j|J:"
Note: As a generalrule, the Right hand shouldpluck
quick consecutivenotes(eighth notesor faster)
different fingers' This is true whetherJr not the with
"onroutiu" not", r" on the samestring.
In Ex' l5A, pluck the open first string with the
Middle and Index fingersin alternation. practice
diligently' This finger alternationis the rechn-ique M-I-M_I
that wilr allow you to play fast melodies.
Ex. l5A Ex. l5B

m i m i m i n i

I t- - ! r ! ! ! ! - r

once Ex' l5A is comfortable,try the C-major scalein Ex. l5B. The
left-handfingering is as follows: All
lst-fret notesare fingeredby the index; All 2nd-fret iot", ar" rrg"t
aiy the middle; All 3rd-fretnotesare fingeredby
the ring.

Ex' l5c addsan alternating-bass patt€rnto the c-major scalefrom Ex. l5B. The left-hand
fret the sixth string at the 3rd fret ihroughout Ex. 15c. Th; ring finger must
littte finger will fret all the other 3rd-fret nores.

Ex. I5C Ex. 15D

i , l r , fi I t f a I ' ( r r t ( t l a f

! ! ! ! ! ! ! ! I I ! ! ! ! ! ! ! ! I
PracticeEx' 15c slowly, alwaysalternatingM-I-M-I. There is
a lot to think about. It is worth taking the
extra time initially to avoid developingbad habitsthat wiu be
difficult to break later on. Ex. l5D usesthe same
scaleas 15C,it simply goesin the oppositedirection.

Remember: Keepthe rhythm steady,andaltematethe Right-hand

fingers!
once you havemasteredExs. ISA-D, repeatthem,alternatingrndex-Middle
Becomecomfortablewith both Right-handpatterns,sinceone 6I-M) insteadof Middle-Index.
ruy ht a particularp"r*g" "r music betterthan the
otheronedoes.

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left hand as well as the T19t,
Right. The melody notes are not all chord members,requiring
concentration on the
adjustmentsthroughoutthe exercise.I havesuppliedoneRight-hand the left hand to make
fingeringpossibiiity. fn"r" ur" othersyou may
find with experimentation.

Ex. 17A
G/B G6/B An

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Once all of these exercises are under control, play l5C through l7A consecutively
without stopping.
Maintain a steady tempo!

congratulations!You arewell on your way to becominga topnotch rravis picker!

Devil'sDream
Many fiddle tunes have continuous-eighth-notemelodies,making them great
exercisesfor righrhand finger
altemation' The melodies usually are accompanied by a steady rhythm and simple harmony
that can be played by the
Thumb as an alternatingbass."Devil's Dream" is one such fiddle iune.

PerformanceNotes:
1) G6 tuning (D G d g b e', lowest pitch to highest): lower fifth and sixth strings one
whole srep.
2) Except for the first-beat chord of measures I and 5, the entire piece can be played
I-M-I-M, which
I recommend. Alternate Right-hand fingerings are printed in measures3, 4, and
l l. pluck
measures9-10 as marked (use the idenrical frngerings for measures r3-r4).
3) If you play "Devil's Dream" with an M-I altemation, piuck the first-string notes
of measures3
and 11 with the Rlng finger.
4) Left-Hand Fingerings :
a) Fhger the initial G-chord as marked so that the subsequent F# melody note can be
fingered
easily. If this G-chord fingering is too difficult, fret only the G nore (fint string, 3rdiret)
on the fust beal of measrues I and 5.
b) A-minor-Play the 2nd fret of the third, fourth and frfrh srings with a l/2 barre by the
left-hand mlddle finger. This fingering requires the hrst knuckle of the middle fing.r to
bend backward slightly. Be careful not to put too much pressure on the knuckle if it isn't
accustomed to it- The lf2barre is an easier frngering to play accurately than the altemative,
a 4-finger chord. Both fingerings are diagrammed. Altemative A-minor measures(with
3-finger Am-chords) are included on page 19. If they are easier for you ro play, substirute
them for measures3 and ll, and 7 and 15, respectivcly.
5) D.C. al Coda is explainedin Appendix B,page77.

Note: Practice"Devil's Dream"slowly to makesurethe Right-handfingering is

correct. Both handsmust
be undercontrolin orderto play pieceslike this cleanlyandat full .plo. vtut" .* you.
Right handis relaxedand in
goodposition!

l7
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FreightTrain
The following arrangementof "FreightTrain" is an improvisationalsection; the regular-melody
sectionis
includedon page 33 of rhe Art of contemporary Travis Piciing. Most of the regular
melody is found here in
measures 17-24.

PerformanceNotes:
I ) This arrangement uses mostly the pinch pattem, with liberal additions of
rearranged finger notes
and left-hand articulation (hammer-ons, pull-offs, and slides). Each finger
of the Right hand
should pluck only its designated string throughout the arrangement.
2) To achieve a satisfactory sound on the consecutive pull-offs in measures
5-6, place the left-hand
little and index fingers on the string on the first beat of the measure.
3) Because of the hammer-ons in measures I I and 27, finger the F-chords with
the thumb fretting
the sixth sring.

l9
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 Another common bass-patternalterationis to pluck a lower-pitched string as the alternatebassnote. The
patternin Ex. 23A may feel odd at finE but the techniquecanbe masteredquickly. AlrematetheRight-handfingen!

ChicagobluesguitaristBig Bill Broonzy'srecordingsprovidemanyexcellentexamplesof anothervariationfor

the Thumb: Playing the samebassnote consecutively. Ex. 238 demonstralesthe repeating-bass-note
technique.

Ex. 23A Ex.23B

- e -

!
l 7r fr " l
- t
= l

Plucking two bassstringssimultaneouslywittr the Thumb is a commontechniqueamongMerle Travis/Chet

Atkins-style players. It is more of a "brush" strum than a sharppluck. This style most often uses the brush
techniqueon the secondand fourth beas of t}remeasure,in placeof a single alternatebassnote. English guitarist
John Renbournusesit on the first beat of measureI in "White House Blues" on page 27. Try noito alier your
right-handpositionwhen arremptingthis technique@x. 23C).

I 3 4 2 1x 2x134
Ex. 23C Ex.23D
Al E7 Be/Ff

?I
r | - ) # i ' r #r 'h,?
V

I I ! I i

Many blues fingerstylistscombinethe techniquesdiagrammedin Exs. 23F-C. By plucking two (or more)
bassstringsasa constant'repeatingbass,a tremendous rhythmicdrive canbe generated.eppfv this iechniqu"to E*.
23B by plucking the sixth and fifrh stringswith the Thumb on eachbear

Yet anotherRight-handThumb variationaddseighthnotesto the basspattern. Most oflen this

techniqueis
usedto provideexEa"drive" lowarda new chordor measure.Ex.23D diagramsttristechnique.At the
endof measure
1, fret the A# with the left-handindex finger.

23
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25
White HouseBlues Traditional

English fingerstylevirtuosoJohnRenbourn'srenditionof "white House

Blues" also usesseveralnew thumb
techniques' During much of the introductionRenbournomits the
third-beatbassnote, a techniqueusedby many
alternating-bass players. The left-handfingeringforRenboum's"lick" in measures
13-16is tricky. Isolatethese
measures'practicethemalone,thenput thembackinto thepiece.
Keep the left wrist low [o get adequatearchin the
fingersof the left hand. The Am9* fingering(measure13) is a common
one for Renbourn.
Renbourn'srecordedversionof "White HouseBlues" is found
on his Lp Faro Annie Sepnse, MS-20g2).
other Renboumrecordingsareavailableon windham Hill, Flying Fish,
shanachie,andKicking Mule Records.

Am Dadd4 An9 Dadd4

r l''
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copyrighr @ For All Counrries In The world By PENTANCLE

LTD. ReproducedBy Kird pmission of pqtmgle Lrd., tondon NWl l oSA, creat Britain.

27
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Am Dadd4 G Am
2) The peopletheycamerunning,roundto seewhathadbeendone.
C Daddg F/C C G6/B
You haveshotthe presidentdown with your Ivor Johnsongun.
Am D Am9 D1F# Em Am
CHORUS: Flardrimes,hardtimes,hardrimes.

INSTRUMENTAL A

Am Dadd4 G Am
3) The train, oh, the train, runningon down the line.
Dadd9 F/C C G6IB
Blowing at everystation,'McKinley is a-dying.'

CHORUS

Dadd4 G A m
4) Now Roosevelt.
he'sin theWhite House. He'sdoinghis best.
Dadd9 F/C C G6/B
And McKinley'she'sin thegraveyarda-takinghis rest.

CHORUS

INSTRTJMENTAL B

Am Dadd4 G
t Yes,Roosevelthe'sin thewhite Housedrinkingout of a silver
cup.
c Daddg F/c c d/B
And McKinley'she'sin the graveyard,and he'll neverwake
up.
CHORUS

RepeatSTANZA 1, CHORUS,and INSTRTTMENTAL

A

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bassnote)to a 4/4 measure@x. 33A). A measureln in 7/4 could"onri.t of threetwo-beatpatlerns,plus oneextra
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x2 13
Ex. 33A Ex. 338
D Dadd9/C

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Eighth-NoteMeters
The Travis Pick is often played in 6/8 or l2/8 time. Thesemetersdesignare
a triplet rhythm--thatis, each
mainbeathasthree subclivisions. To thispoint in Solo Fingerpicking,
mostof themusicias useda straight-eighth
rhythm--two subdivisionsof eachbeat.

T o m a k e s u r e y o u r r h y t him
s c o r r e c t i n E x . 3 3 Cc,o u n t a s t e a dly- z - i - 4 - 5 - 6 a l o n gw i t h t h e n o t e s .
-
Pluck the bassnoteson I and 4. In the first measureof 33C,pluck the
treblenoteson 1, 3, 4, and6,respectively.
Ex. 33C

t )
ta
a
l i
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o
A
Lo_r ar'

I p I I) i*r i-
of the previouslyexplainedbass-patternvariationsmay be applied to pieces
in 6/g and 12lg time. you
will find that manyfiddle tune-typepiecesusethesetriplet meters(;strawberry
curl" on pageT3isa goodexample).
Note: l2/8 ume is often written in 4/4 ume with the notation "triplet rhythm" or "swing
feel." It is then
up to tle player to interpretthe music with a triplet rhythm.

Over The Waves

PerformanceNotes:
"Over
1) The Waves" is in 3/4 time.
2) The arrangementuses drop-D tuning (rower the sixth string one whole step to
D).
3) The bass paftern uses several variations, including repeated and omitted
notes.
4) Parallel scalesusing Right-hand pinches occur in measure 26.
5) Pay attention to the left-hand fingering recommendatiors tfuoughout the piece.

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I I ! ! I ! I ! U ti

I I

H I I - trt H ?

Note: Classically trained guitaristsmight pluck Ex. 37A differently (T-R-M-I,

for instance),but for the
scopeof this book, pluck it as suggested,
usingthe altematingbass.

Ex' 37B demonstrates a techniquefound occasionallyin Travis picking pieces:The Thumb plucks
higher'pitched string thanthe precedingstringpluckedby a finger.Good a
Right-tra-nd
positionmakesthis technique
possible.If you havedifficulry, refer to Righr-Flandposition,pale
5.

Ex. 37B

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 Etude
MarkHanson

"Etude"
incorporatesnearlyeverybasstechniquethat hasbeen
coveredin solo Style. pay closeatgentionto
the left'hand fingering' Good fingeringin both tranos
laton! win piactice) is the key to solid playing at this level.

Aadd9 Ana9
j

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Copyright @ 1988 Muk D. Hmon. All Righrs

Resened.

congratulations! You havereacheda level of rravis

Picking that the vast majority of guitaristsneverattain.
39
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 Ex. 4lC is a four-beatmeasurebeginningwith a four-noteroll. Make sureyou play this smoothly.

Both three- and four-noterolls may be played as descending arpeggiosas well. These
are not nearly as
commonin modemfingerstyleplayingasascendingrolls. Ex.4lD showsa three-notedescending roll on a G+hord.

Ex. 4lA Ex. 418 Ex. 4lC Ex. 4lD

l - 1 l- 2-3- l- 2

T
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l+ l----.1-------l-_]
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Congratulations!Whentheserolls areup to speed,theycanbe very effectiveadditionsto your Travispicking

technique.

Bill Bailey
PerformanceNotes:
1) Play this old srandard with a triplet feel.
2) Measures 2,4, and 6: Lrft-hand fingering for the Gzusadd9: the index finger frets 0re second string, lst fret;
the
middle frnger frets the third string, 2nd fret; and the ring finger frets the slxth string, 3rd fret. Visualizing
this frngering as similar in shape to a regular C-chord may help you leam it more easily.
3) Measure 3: If the stretch to the D# is too difficult, capo your guitar up to wh€re the fret spacing is smaller.
4) Measures 15 and 16: Sustain the high A in measure 16 with the litrle finger while the index and middle
fret the
fourth and fifth strings, respectively. Change back to the normal C fingering for measure 18.
5) Measure 26: A three-note roll on an F-chord-
6) Measure 29: The little finger must reach to the third fret of the slxth string on beat three.
7) Measure 34: Altemate Right-hand fingers as you pluck the last notes of the measgre.

DedicatedTo MississippiJohn Hurt

OregonguitaristDavid Blakeleycomposedthis piecein memoryof fingerstylelegendMississippiJohnHurt

PerformanceNotes:
l) Four-note rolls occur in measure^sl, 5, 9, and 13. These four measuresare exactly the same as Ex. 41C
except for
one note: the left-hand little finger frets the third string, 3rd fret (A#), during the roll. The A# adds a
colorful
dissonanceto the G-chord.
2) Measures 17-22: rhe hammer-ons occur on and off the beat. This will take some practice.
3) Measures 19-20: lower-pitched alternate bassnotes.
4) Measures 29-30: new bass pattern for Am-chord.
5) Mcasure 31 : t eft-hand fingering for the D-chord is a U2 barre. The litfle finger hammen on.

4l
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Golden Valley
"Golden
- Valley" usesa five-note roll in measure16. Severalother chordsusefour-note arpeggios. However,
for reasonsof personalpreference,noneof the Right-handrolls in "Golden valley" is spreadover
an entire beat

PerformanceNotes:
1) Measures I and 2 use a2B barre A chqd. Hold the 2B banewith the index finger until
measure 3.
2) In measures 3,5, L4,45, and 48, the left-hard index finger barres the third, fourtrr,
and fifth strings. Bend
the index finger backward slightly at the first knuckle ro allow the open first string to vib,rate.
iris
techniqr.re is easier if you make sure the left index finger doesn't reach beyond the fifth string.
3) Be aware of the bass-patternvariations used in "Golden VAley."
4) DS. aI Coda is explained in Appendix B,pzge77.

47
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49
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Flier
"Flier" uses four-note rolls throughout the secondand third sections,beginning with measure34. If you
haven'tmasteredfogr-note rolls, use four-notepinchesor three-noterolls instead. If you substitutethree-noterolls in
"Flier," omit the second note of eachfour-notearpeggio.For example,the four-noteroll in measule35 Gage 54)'
requiresT-I-M-R on the fifth, fourth, third, and secondstrings,respectively. A three-noteroll would be T-I-M on the
fifth, thfud,and secondstrings,respectively.

PerformanceNotes:
l) I recomrne,nd that you fret $e sixth string with the left thumb for all F and 6th-fretBbchords. Barre chordsalso
will work for the F and Bb chords,but not for Bb6.
2) Measures25-27: Left-hand little finger holds the high G note (first string, 3rd fret).-
3) Measures28-30: L.efrhandthumbfretsthe sixth stringfor G6, FmajT,DlF*,and D?F#.
4) Measurcs34-59: Keep your left wrist low andyour left thurnbin the middle of the back of the neck for all of the
chordsin this section. That allows good extensionandcunratureforyour left-hmd fingers. It also ensuresthat
. any openstrings in the middle of a fingering (measures52-53, for example),re not muted accidentally.
5) Measnres36-37,4041,4849, srd 55: Index finger frets the sixth string on Abmaj / and the zubsequent
G-chord.
6) Measure41: Slide with left-hand lndex finger to measure42.
7) Measures4245: All of thesechordsusethe identical fingering, simply one fret lower for eachnew chord. On the
first beatof measure42, fret the fourth string wi0r the little finger shortly after the fu'st and secondfingers
fret thefus.This makesit easierto hit this furgering accuratelyafter thejump ftom filst position
8) Measure50: Usea 2/3 brrc.
9) Measure61: Hammer-onthe secondstrhg eventhoughyou haven'tplucked iL

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 darnpingtechnique is o fret a vibratingstsingyoudont planm pluck. Forexampb,on the
__ _,"' rn
rmal ,Aom:||"ft-hand
t'x. 59A' us€thering fingerto fret the3rdfret of thefifth string. Thatpreventstheopenfifth stringfrom
ringinginto rheFmaj7.

Ex. 59A
Ar Foaj?

- ! - - -

secondpossibility for measure2 of Ex. 59A is to fret the fourth string with the ring
back of the fingernail or the flesh of the fingertip nearthe nail to damp the vibrating-fifth " finger, using the
sring.
Also, try fretting both the fourth and-fifti. srings (3rd fret) with the ring finger. Fretting
. two strings with the
tip of one finger is difficult at frst--you needto aim your fingenip halfway betl*eeo'tt "
st ingJ. ttowever, tearning
this techniqueis worth the effort.

Take sometime lo feel comforhblewith theseleft-handdampingt€chniques.Visualizing

your fingertipsas
being "wide" "fat"
rnay help them iouch more than one string at a time, when necessary. RJmember
9l to ftet the
sixth string with the thumb on the Fmai7.

Good Time Blues

'Good Time
Blues" by David Blakeley openswith a quick left-hand movemenf After the opening
tripl6t
(pull-off and slide), the left hand must move quickly to a first-position Em-chord,
with the middle oi ino"i nng",
fretting the fouth string, 2nd frel This passagewas introducedin Ex. 58c. play .Gmd Time
Blues" with a triplet
feel.

PerformanceNotes:
l) Watch for omitled bassnotes (measures8, 16, 17, and 27), anticipatedbassnotes (measures14 and 17) and
bassscales(measure15),
2) Measures2, 4, 6, and 8: On the first bea! dampthe sixth string with ttre left thumb,
3) Measures3, 5, 7' and 9: Juslpriot to beal one,dampthe Iifth string sustainingftom the previoqsmeasure.
4) Measure13: On rhe third b€ar,dampthe fourttr scing with rlrc left_handind€x finger.
5) Measure16: Considerusing push-offs insteadof pull-offs. Stretchthe secondand fourth strings toward
the
slxth string before releasingthern. ThaCsa push_ofi
6) Measures18 and20: Keepyour left wrist low for rhe Cm6.
1) Measves 22-24.. Use a full barrein the left hand.
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 In gen€ral'right-handdampingis not as effective for playen who wear steelfingerpicks,
- becauseof thc ,,clict"
causedby touching steel to steel. If you wear picks, experimentwith the angr" ut *tt'i"h y;
do;p th" strings with
the Right-hand,and also witl how had you grab the sfings when you damp them.

A method of damping an individual basssring is 6 touch ir wirh

- the side of the Right-hand rhumb as the
TTb prp*:r to pluckthea jacenlhigr_rer-piehed
Jtring.rn ri. er4rno!" th" op;nid;t il;rh
theThumbasit prepares topluckthefourth-string trresiceof
r. e suihtnJrenlngofyournlgrti-r,-Jp".ru-*,nr,, bercquired
to dothis.Thefifth stringshouldouchtre siaeoi thernuirt uetween uremumbnail andthetnuckle.

Ex.63.4

- - -a r

Rest Stroke
The 'rest stroke" is a right-hand techniquefrom the world of classical guitar that is worth
- knowing. This
techniqueproducesa different tone--somewould say a "richer" tone--thanthe "Fee" stroke that
mostiravis pickers
use, It also can be usedfor dampinga string adjeent to the onebeing plucked.

To play a rest stoke, the plucking finger simply comes to rest on the adjacent lower-pitched
sting
immediately after a pluck. For example: Pluck the open secondstring with the Middle
fing"r. Th"'Middl" fing",
then comesio rest on the third string.

The Thumb also can use the rest stroke, resting on an adjacenthigher-pitched string. For
- exampte:pluck
the fifth string with the Thumb, which then comesto rest on the i.ourth string.

Now 8o back to Ex. 628. hactice using a rest stroke with the Thumb when you pluck the initial
bassnote of
measure2. This will produce a sfrongtone from the open fifth sting, trnd will mute th" r"""r,
sfii"g irit is ringing
accidentallyfrom measurel.

Also' mute the thre€ treble_$ringsin Ex. 628 with your Right-hand frngersas you did
before, but this time
do it as your Thumb plucks the fifth string with a rest stroki.. cooo nignt-hano-positionis
mancatory1r"" rig. z on
page5) for this techniqueto be successful.

63
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Twin Sisters
"Twin
sisters" is a fiddle tune from Gaither carlbn (flatpicking legend
Doc watson,s father-in-law). It uses
right-€nd left-hand damping extensively.. The piece is u."-g"o
ltr rhe sryle of old-time barj;,; irxtru.ent *itn
considerablvlesssusrainrhana modemguiar. Becauseof tnaltact,
ano ttri tiuerat ur" of o;;;i;g;in p e o c e
D tuning, damping is very important to the overall soundof
tf," pi""e.
I\{ake sure the melody always standsoul

PerformanceNotes:
1 ) Pay closeatreritionto all recommendedleft_ andright-handfingerings,
2) B-eawareof darnpingopenstrings with the t"rt n tia, ""p""iuui*h"i,
?\
changingfton one chord to the nexl
Measuresl4: Notice the bassvariation.
4) Measure6: Darn! the first string on rhe fust bearwirh the
Righr-handMiddle fing€r.
5) an9
]\-,leasuresI ??: Altemate Righr-handfir,g"r, on "-u""rrin" "igf,O *", "" O. samesuing.
6) M€asures7, 10,23,25,39, '..d43: pluck with Ring fing"" rrfr"..
"igg""tJ ffri" sets'p the Middle and
Index for subaequentplucks on other strings.
-_
7) Measurel0: Damp rhe fusr string on tlre_firstbeat with
Right_handRing fing€r.
8) 1l: The Dm7 is fingeredlike I firsl-position D+hora in standid
ftleasure triung.
e) Mearures12, 14, 16, and 18: ott rlle firrt bear,dampthe secondand third sEings with the Right_hant
Middle and,Index fingers, respectively,asyou pirrck the openiou.Or-
-- "rirU ,"iO ,fr" n o_U.
10) Measures13' 15, 17, and 19: on the firsrbear' damp** ""-ia,
ruoa Jio:rrtr snrngswim ae Right-hand
Ring, Middle, andlndex fingers,respecrively.
-_
l 1 ) Measure26: On beatone, damp the first andfourh strings with
the left-hand little and middle fingers,
respertively, ard damp the sixrh wior left_handthunb.
12) Measure29: On the three bsssst hgq finger wharlooks like I
standard_bningfirst_positionD-chord.
r3) Measure29: On t}le nrst beat louch rt e."irti,_fnfr, "na fo*rf,,oirrgr-*l*,Ii"
ffr,_U, Index, and Middle,
respectively,but pluck only the six[r and frfth.
14) Measures 3744: pluckharrnonics harderthanftettednotesto ba.lmc€theirvolune.
l:J i'le'sue 40.
i Thurnbprucksa higher-pirched sring thanrherna.*-rGe" pru"t oat ,,o-ediatelyprea€ded
I 6) Measures 45,47, and49: On rh; firsit u, a"-p iixo sring ;i h f-"iii;*d iL
1?) Measures a,r.u.
45, and5lr Am7** fingeringis useat aampttre-thira_j fo*,f,
"oino",

65
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69
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 In Ex. 7lA, barrefte first and secondstringswith the indexfinger at the 7th fut. Tly not to releasethe
procedinglitde-fingernotc(thirdstring,th fret) too soon. Remember:Alwaysalternat€Right-handfrngerswhen
pluckingcorsecutiveeightl not€sin a melody.

Ex.7lA

lJ-.,J lJ.J lJ-J l+J

- Left-handdampingoftenis very importantin melodicphrasessuchas Exs.70A-Band7lA. In Ex, 70A,as

you fret thefhst melodynotewith themiddlefinger,decreasetheangleof thefingerto mutethe fnst string. This
preventslhesubsequent hammercdbull-offftom soundingthefirst stringaccidentaliy.

For the secondhammer-orvpull-off combinationin Ex. 70A, mutelhe first stringwith the left-handindex
finger,alsoby redrrcingtheangleof thefingersothatit restson thefirst stringasit fres tf,esecond.

_ Youwill find thatmanyof themelodicnot€sin thefirst section of "Stsawb€rfy

Curl" needO befrettedwith a
red-ucedangleof theleft-handfingers. In rapidly-movingpieceslike "SrawberryCurl" thistechniquecanmeanthe
difference
between cleanandmuddyplaying.

7l
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 Appendix B
Glossary
Accompaniment Musical backgroundprovidedfor a melody.
Anricipation: one note of a chord moving to its position in a new chord before the other no!e, move.
Arpeggio: Notesof a cho(d playedconsecutivelyrarherrhansimultaneously.
Bass: Lowest part of a musical composition.
chord: Tlnee or more notessoundedlogeth€r, Two notestogethergen€rallyarecalled qr interval.
Coda: (It.) A concludingpassageof a compositiotl
D.C. al Co&: (Da Capo) (Jr.) Go back !o rhe beSinningof rhe piece. ptay until yop reach$ fien play lhe CODA-
-*"
D.s. X, al coda:(DaSegno)
(r) Gobackto G sign-fr, , pioyo"tl yo,,,"".n$, ;"" ily ,h" 6i;b;.
"Drop
D Tunilg: Stsnded tuning exceprthat the 6fi srring (E) is loweredone whoTl""t"p o fi.
Duple Meter: A time signannethar is evcnly divisible by two, such as2/4 and4/4.
a
Eishth: Note or rest that receives12 beat in 2l4 or 4/4 rime. It receives1/3 of a beat in l2l8 time, (12lg has
[,,17
fo; beatsper measure,each with three subdivisions.) Dotted eighrh 1fi'l.; receiues314of a beatin Zl4 or 414-
Fine: (It) The end of a piece. Y
First Position: The end of the guitar neck, fi6t to fourth frets.
Free Stroke: The most common type of Right-handpicking in fingerstyle playing. The Right-hand finger does not
touch any other stdng during its follow-tluough after plucking a string,
Frec (Noun) Metal strips acrossthe fingerboardthat mark positionsfor depressingstrings. Also called fret wires.
(Verb) Pressingdown the strings wirh the fingers of rhe left hand.
Hammer-On: Sounding a note by hitting a strinS with a finger of the left hand, rather rhan plucking with the right.
o
Half Note: l- .r Nore or resr that receivestwo beatsn 214or 414rime, Doued half 1fir.; receives rhree beats in
I
4/4, two beats in 1218- I
Inversion: A chord that has a note other than its root note as its lowest sounding pitch. For example: D/F#
and C/B.
Measure: Space between two bar lines in witten music. The number of beats in a measure is easily
determined by
looking at the upper numbe! of the time signature: 3/4 time has three beats per measure, for exampie.
Melody: The rnain parr of a harmonized composirion, In this book it is the vocal part, or the part playecl
on the fteble
strings of the guitar in instrumental pieces.
Note: The sound of one plucked string, either opcn or fTetted.
Open String: String that is not fretted.
Passing Chord: A chord with the primary function of facilitating a smooth change between two other
chords. For
example: G/B can be used as a passing chord between C and A minor.
Pull-Off. Sounding a note by plucking a string with a finger of rhe left hand, rather rhan wirh rhe right
hand.
quarter: Not" o, rest that recieves one beat in 214or 414rime.
| |} Receives ZB of a beat n l2/g. Adotred auarter
| - l ' r
( | (' ) receivcs one beat in l2l8, one and a half h 214 or 4/4.
Rhythm: The relular (or irregular!) pulsation of music.
Root Note: Fundamental nole of a chord. It has the same nane as the chord.
) c t
Jfxteenfi: Nolc lhat rcccives 1/4 bear in 214 or 414 Lime.
, /
Slide: Soundinga note by sliding to a new position on the fretboard.
Slur A note soundedby rhe left hand (Hammer-On,pull_Off, or Slide).
Sus: Suspended.A chord comprisedof the lst, 4rh, and 5rh notes of its scaleinsteadof the normal I s t , 3 r d , and
5th.
Treble: Upper part of a musical composition.
Triplet: Group of *uee notes that takes the same amount of time as two similar notes usually take:
in 414 time.
lH t l = I beat
J
Guitar Information

StandardTuning Right Hand L€ft Hand

String Name Number Finger Letter Name Finger Name
(Eng.) (Span.)
Treble: e' 1 't
Thumb: p Thumb: T
b 2 Index: I i Index: 1
c 3 Middlc: M m Middle: 2
d 4 Ring: R a Ring: 3
5 Little: 4
sass: E 6
'17
 8L
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 Hedges,Michael Layover, Lenono
Jansch,B€rt Blues Run Thc Garne,I Have
No Time' It Don't Bother Me,
RurmingFrom Home, Soho
John,Elton Love Song
Johnson,Michael GiveMe Wings
Judds SleepingHeart
Karuas Dust In The Wind
Kaukonen,Jorma Embryonic Journey,Genesis,
Dealh Don't Have No Mercy,
I'll Bc All Right,Candyman
Konke, l,eo Air Proofing Two, Fisherman,
Brain Of The PurpleMormtairl
BusredBicycle, JackFig,
l,ouise, VaselineMachine Grm
Lang, Peter Lycurgus,HalloweenBlues,
RoundWonn Reel,Wide Oval
l,ed Zeppelin Going To Califomia
Lightroot, Gordon Sit Down Young Stnnger
Loggiru, Kerury Darmy'sSong
McEntire, Reba How Blue
Mcl-ean, Don CastlesIn The Air, Magdelan
Lane,Three Flights Up
McTell, Ralph StreetsOf lrndon
Pentangle Cruel Sister,SweetChil{
TreesThey Do Grow High
Peter,Paul & Mary For Baby (For Bobbie),
Puff, Creat Mandella
Procror,Chris HuckleberryHompipe,
Over The Pass,Runoff,
Winfield Rag
Prine, John Sailin'Around
Qualey,David Norwegian Fantasy,Opus21
Raitl Bonnie Louise,Too l,ong At The Fair
Reed,Preston BsstaPast4Digitali4
Shenaniguts,
StraightTo The Top
Reid, Harvey CanalSteet Strut,Restless
Man, Old PonsmoudrTown
Renboum,John Litde Sadie,
ShakeMama Shake
Roth, Johrr Crazy Horsg Z The Cat
Rush,Tom Child's Song
Simon, Paul April ComeSheWill,
Boxer,Kathy'sSong
SimpsorqMartin Lulu's Back In Town, Roving
Gambler,Yo-Yo Blues
Taylor, James SomethingIn The Way
SheMoves
Travis, Merle Jelly Roll Blues,Key To The
Highway,There'llBc Some
ChangesMade
Van Duser,Guy Black Beauty,MissBrown
To You, CheekTo Cheek
Van Ronk, Dave Blood-RedMoon,Cocaine
Blues, St. l,ouis Tickle
Vega,Suzarme Gypsy
Watson,Doc DeepRiverBlues,
Doc's Cuitar, Weary Blues

79
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 nMark knows the territory. . . Best of all, the material is
fun to play.'
LeoKottke
"I would recommend this bookvery highly."

JohnRenbourn
"A master teacher and player."

G u i t o r P l o y e rM o g o z i n e

Whor curilomers ccy cbont fhe Art oJ Solo Ftngaptddngz

"I wanted to get sefious about sologuitar, and your bcnk was thc perfect answer. Thc Art of Solo
Fingerpicking seems like a grft."
T . S . ,S o n J o s e ,C A
"For the past 26 years I have played acoustic guitar music. Your books are the best I
have yet encountered."
1 . E . ,L o s A n g e l e s ,C A
"The Art of Solo Fingerpicking has prwided me with a
fitm bask for approach-
ing Leo Kottke's arrangements,"
R . B . ,L i v e r p o o E
l ,n g l o n d

Tunesinclude:
"StrawberryCurl" "TwinSisters"
"GoldenValley" "FreightTrain"
"Devil'sDream" "OverThe Waves"
"Fishin'Blues" "GoodTimeBlues"
"BillBailey" "WhiteHouseBlues"
"Etude" "Red,White& BlueRag"
"Flier" "Dedicated JohnHurt"
To Mississippi

Also By Mark Hanson

. Triad Power for Guitar
. Complete Book of Alternate Tunings
. Alternate Tunings Picture Chords
. Masters of Hawaiian Slack Key Guitar
. Art of Contemporary Travis Picking
. The Music ot Paul Simon
. The Music of Leo Kottke
- Leo Kottke Transcribed
. FingerstyleNoel
. Flute& Guitar
. Beginning Slide Guitar
. l2-string GuitarGuide,and much more!
For More Information,
ContactYour Local Retailer,or:

Acc
M

AccentOn Music t s B N0 - 9 5 6 7 - 9 9 0 5 - H

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19363WillametteDr.#252
WestLinn,OR 97068USA
Exclusivelydistributed
by
MusicSalesCorporation,
- NewYork,NY
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