Cotton Patch Rag Guitar Tab
DOWNLOAD ONLY. Teaches you how to make the most of your practice time by laying down logical procedures. Learn several variations of guitar contest favorite ('Cotton Patch Rag') and conquer all physical, mental and musical barriers. Includes tab sheet. Find a Teacher. Take your playing to the next level with the help of a local or online banjo teacher. Email Newsletter. Weekly newsletter includes free lessons, favorite member content, banjo news and more. Cotton Patch Rag www.traditionalmusic.co.uk. 4 4 C 4 4 0 2 325230 13 030 331 20 323 0212 0 1 2 01 20 4 0 20 4 0 0 0 01 3 0 310 0 4 0 3 03 02 0 3 03530 13.
Cotton Patch Rag Guitar Tab Sheet
Flatpicked Guitar and Mandolin Music Flatpicked Guitar & Mandolin Music. Flatpicked Guitar & Mandolin Music. We are and and we both play guitar and Mike plays mandolin.
We primarily play traditional fiddle tunes, Bluegrass, Old-time, and a little Celtic and Blues. Most of the tunes on this page were arranged by Mike and/or Kim for flatpicked guitar and mandolin. These are the tunes we play or hope to learn over time. These are not definitive versions, the arrangements are just the way we play the tunes. We decided to post them on our website because we think they might be useful for beginning and intermediate level flatpickers and mandolin players. They are offered for purely educational purposes; nothing is for sale.
We hope you enjoy them as much as we've enjoyed making them! Our tablature is all in format. You can download the free to view and print our Tabledit files. If you want to arrange and compose your own tunes in Tabledit format, plus transpose to different keys or convert to different instruments, you can download the full version, which costs about $55 USD to register. Click on either icon below to visit the Tabledit site. Amtrak train simulator free download. We will be loading more tunes as time goes on, so check back again soon.
Find tablature alphabetically (If a song name begins with 'The,' you will find file under the first letter of the second word in the name.) Click on the name of the tune to download the Tabledit file: X. Key A minor Arr. Mike Stangeland for GUITAR This tune was transcribed from a mandolin recording of it by and Kari Larson on the CD 'Double Cappuccino' then I arranged it for guitar. It's a traditional Spanish waltz, very lonely and haunting. It sounds wonderful on guitar.
Dakota Dave and Kari Larson are some of our favorite instrumentalists, their recordings run the gamut from traditional to swing, highly recommended! Check out 'Moonbeams', 'Hull's Victory', 'Double Cappuccino' and 'Reunion Rag' Key A (played capo 2, G position) Arr. Mike Stangeland for GUITAR This tune is a standard of the Texas Fiddle style.
Cotton Patch Rag Guitar Tab Pattern
This is a transcription from the playing of the great, one of the founders of the style. It's tough and will take a lot of work, when you've got this one up to speed you can say you've 'Arrived.' Recordings: Benny Thomasson: 'Texas Hoedown' Joe Carr: 'Texas Fiddle Favorites' Stacy Phillips on 'The Great Dobro Sessions' Key C Written by Charlie Derrington, Arr. Mike Stangeland for GUITAR Charlie Derrington was a wonderful musician, a great mandolin builder and was the manager Gibson's acoustic stringed instrument division and is credited with rebuilding the operation and regaining the respect it once had. In 2002 he sent me an album he had recorded but had not been released and I transcribed several of his instrumentals.
This is one of them. Sadly, Charlie was killed in an auto accident caused by a drunk driver on the evening of August 1, 2006. He will be greatly missed by many. Mike Stangeland for GUITAR According to: 'This old time song and tune was derived from a sentimental song by Stephen Foster, called 'Angelina Baker,' whose lyrics tell about a slave who is parted from her lover when sold.' This tune has stood up well over the years and has been recorded many times. For us the most notable recording is David Grier's version on his 'Freewheeling' CD. Recordings:: 'Freewheeling' on 'Kneedeep in Bluegrass: The Sessions': 'Pineywoods': 'A Day in the Country' Nashville Bluegrass Band: 'Idletime' Mike Whitehead: 'Acoustic Timbre' Key D Arr.
Mike Stangeland for GUITAR A traditional French Canadian reel we really like. The B part is a little tough so I've included some suggested fingerings. Mike Stangeland for GUITAR An American Old-time fiddle tune which is almost universally known.
This is a standard for most anyone's repertoire who loves Old-time music. This is my personal version. Recordings: and Tut Taylor: 'Flatpickin' in the Kitchen': 'I've Got the House to Myself' Clarence White: '33 Guitar Instrumentals' Ed Haley: 'Grey Eagle (Disc 1 of 2)' Jethro Burns and Red Rector: 'Old Friends' Key C (capo 3, A position) Written by Bill Monroe, Arr. Mike Stangeland for GUITAR Another great tune from the master tunesmith Bill Monroe. It has three parts and is played in C, I found it plays best for me in capo 3 'A' position.
Recordings: Bill Monroe: 'Bear Family 1970-79 Vol. 3': 'Road to Coeburn' & David Long: 'Stomp': 'Hard Times'. Mike Stangeland for GUITAR If you enjoy Old-time fiddle tunes you will enjoy this one, it has a really nice groove. A barlow knife is a type of folding pocket knife that features double or single blades that open at one end only. The knife-style bears the name of a man named Barlow of Sheffield, England, one of the earliest and most famous makers. When I was young (1940's-50's) most young men owned one of these wonderful pocket knives.
Owning a barlow knife was a rite of passage in the South. Recording: Fuzzy Mountain String Band: 'Fuzzy Mountain String Band' (Standard version with variations) Key D (capo 2, C position) Arr. Mike Stangeland for GUITAR (Standard version) Key D (capo 2, C position) Arr. Mike Stangeland for GUITAR Key D (open) Arr. Mike Stangeland for GUITAR Key F (open) Arr.
Mike Stangeland for GUITAR This is possibly one of the three or four most popular flatpick tunes of all time, an absolute 'must know.' My capo 2 standard version is based largely on the most accepted version of the tune by the grandfather of flatpicking Doc Watson. The open D version is my own based on several influences. The 'Standard version with variations' kicks off with Doc's version and I have added a couple of my variations that are within striking distance of the advanced intermediate.
Fiddle players very often play this tune in F so I've included a couple of variations in open F also. Recordings:: 'The Essential Doc Watson' Kentucky Colonels: 'Long Journey Home' Unit: 'Unit of Measure' (with ): 'Plain & Fancy': 'From Fathers to Sons': 'Bluegrass Guitar' Benny Thomasson: 'Texas Hoedown' Key A (capo 2, G position) Written by Bill Monroe, Arr.
Mike Stangeland for GUITAR This is a hard driving bluegrass instrumental written in 1958 by Bill Monroe that has been popular with flatpickers for decades. This tune has been recorded many times and became a standard for flatpickers when Tony Rice recorded it on his album 'Tony Rice.' Recordings:: 'Tony Rice' Bill Monroe: 'Bear Family (1950-58) Vol.
4', 'Instrumentals' Kenny Baker: 'Plays Bill Monroe': 'Texas Crapshooter' Key A (capo 2, G position) Written by Bill Monroe & Kenny Baker, Arr. Mike Stangeland for GUITAR This is a jam tune every flatpicker should know. It was written by Bill Monroe and Kenny Baker in 1963 and it has been popular ever since.
This is a straight ahead version which should be easy for the beginner to get up to speed. Recordings:: 'Bluegrass Guitar' & on 's CD: 'Flatpicking Favorites: Hot & Spicy' Kenny Baker: 'Plays Bill Monroe' Bill Monroe: Bear Family Box Set 'Bluegrass 1959-1969,' 'Music of Bill Monroe,' 'Bluegrass Special' Key G Arr. Mike Stangeland for GUITAR The states: 'Old-Time, Breakdown. USA, West Virginia. A popular tune in the old-timey revival repertoire. It is named for the Scioto/Sciota River, which flows through Ohio and empties into the Ohio River.
The source for most of the versions, Marlinton, West Virginia, fiddler Burl Hammons.' It was introduced to the flatpick world by a stunning high spirited guitar version recorded by Russ Barenberg, Jerry Douglas and Edgar Meyer on their CD 'Skip, Hop, and Wobble.' I played it on mandolin for several years and actually got to play it with Barenberg once, a high point for me, he's a monster guitarist! My guitar version was adapted from my transcription of Sam's Bush's incredible mandolin break on the 'Skip, Hop & Wobble' CD. It's playable at high speed so perfect for the intermediate player.
Recordings: Russ Barenberg, and Edgar Meyer: 'Skip, Hop & Wobble' Russ Barenberg, and Edgar Meyer: on 's CD: 'Flatpicking '98' (with Russ Barenberg): 'Not Too Far from the Tree' (the best flatpicked version ever!): 'Roots and Branches' (Intermediate Level) Key A (capo 2, G position) Arr. Mike Stangeland for GUITAR (Beginner Level) Key A (capo 2, G position) Arr. Kim Davis This is another classic jam tune every flatpicker should know. Recordings:: 'Long Journey Home': 'Fiddle': 'The Vanguard Years (Disc 4)', 'Doc Watson on Stage', 'Instrumental Guitar Collection (1964-1998)', 'Instrumentals', Lester Flatt and Earl Scruggs: 'Strictly Instrumental' Cody Kilby: 'Down Home Pickin': 'The Bluegrass Fiddle Album' Kazuaki Miyazaki: 'Man-O-Mandolin': 'Everything is Gonna Work Out Fine', 'Fluxology' Key C Arr. Bryan Sutton, Transcribed by Mike Stangeland Bryan Sutton is one of the most versatile and just plain powerful flatpickers to ever come down the Bluegrass turnpike. IBMA guitarist of the year, former guitarist for Ricky Skaggs, now a top session musician in Nashville, if you love flatpicked guitar you must own all of his recordings.
I've transcribed his first 2 breaks from his recording on the 'Not Too Far From the Tree' CD. For me, this is the best version of this 'Must-know' standard I've ever heard. Recording: (with Jerry Sutton): 'Not Too Far From the Tree' Key C (open) Arr. Mike Stangeland for GUITAR Key C (capo 5, G position) Arr. Mike Stangeland for GUITAR This is popular American Old-time fiddle tune which has been recorded several times. As Arizona fiddler Kenner C.
Kartchner said, it's 'a good one.' Most people play this in open C position but I prefer to play it capo 5, G position. Recordings:: 'California Autumn' (with Jerry Sutton): 'Not Too Far From the Tree': 'Instrumental Guitar Collection (1964-1998)' and Steve Pottier: 'Bluegrass Guitar Duets': 'Fiddle': 'Blue in the Blue Ridge' Terry Morris: 'A Touch of Texas, Fiddlin' That Is' Benny Thomasson: 'Weiser Reunion', 'Texas Hoedown' Key G Arr. Mike Stangeland for GUITAR Of all the Bluegrass instrumentals I've heard in jam sessions across the nation, it seems that 'Blackberry Blossom' may be the most widely known and played tune. Like other extremely popular tunes, every player is more or less required to put his own twist on this tune. In my version I've included a relatively 'straight' version and a suggestion for variations. Recordings:: 'Manzanita' and:'Blake and Rice 2': 'The Essential Doc Watson': 'Markology': 'Blackberry Blossom': Roots and Branches': 'Bluegrass Guitar' Key C (open) Arr.
Mike Stangeland for GUITAR Key C (capo 3, A position) Arr. Mike Stangeland for GUITAR This tune has been recorded by many over the years and is often used as a contest tune by flatpickers. It's a C tune that I prefer playing in the capo 3, A position, but I've included an open C low octave version also. The best version I've ever heard is by on the 'Live From Winfield' CD. Recordings: on 'Live From Winfield' and: 'Star of the County Down': 'A Few Favorites' Key A (capo 2, G position) Arr. Mike Stangeland for GUITAR When recorded this tune on 'Will the Circle be Unbroken' he introduced the art of flatpicking fiddle tunes to the world at large and an entire generation of flatpickers was born.
If a flatpicker expects to get any respect from his peers he must have a personal version of this classic, here's mine. Recordings:: 'Will the Circle Be Unbroken', 'Instrumental Guitar Collection (1964-1998)', 'The Essential Doc Watson': 'I've Got the House to Myself' &: 'Climbing the Walls': 'Blind Dog', 'Planet Riders': 'Plain and Fancy': 'Doc & Merle Watson's Guitar Album' Kenny Baker: 'A Baker's Dozen' Key A (capo 2, G position) Written by Matt Flinner, Arr. Mike Stangeland for GUITAR This tune was written by Matt Flinner, one of our favorite musicians. His recordings with and Todd Phillips stand as some of the best instrumental Bluegrass/eclectic music ever recorded. This tune is one or our favorites, I've transcribed Flinner's first mandolin break and converted it to guitar. Key G Written by Brendan O'Leary, Arr. Mike Stangeland for GUITAR Years ago I transcribed this tune and can't remember where it came from or who Brendan O'Leary is, but it's a good flatpicking tune.
Key G Written by Norman Blake, Arr. Mike Stangeland for GUITAR This tune was written by and recorded on the 'Natasha's Waltz' CD as a mandolin instrumental. We thought it would work well on guitar, so I made a flatpicked guitar arrangement for it. Key D (capo 2, C position) Arr. Mike Stangeland for GUITAR The states: 'The first part of the tune shows up in several melodies from Ireland, Scotland and England; these variants include the Irish 'Centenary March' and 'An Comhra Donn,' and the Scottish 'Caledonian March.' Samuel Bayard (1944) was familiar with 'Bonaparte Crossing the Rhine' as a common march tune in his primary collecting area of western Pennsylvania, and one which circulated under a variety of names including (in Fayette County) 'Bruce's March' and (in Greene County) 'The Star of Bethlehem.'
' Recordings: Fuzzy Mountain String Band: 'Summer Oaks and Porch', 'Fuzzy Mountain String Band': 'Spring in the Old Country' Key A minor Arr. Mike Stangeland for GUITAR This Irish traditional tune goes by many names, 'Bonaparte Crossing the Alps', 'Bonaparte's March', 'The Battle of Waterloo', etc. Whatever you call it it's a great tune and plays well on guitar. This version works well for beginners and intermediates.
Mike Stangeland for GUITAR This is one of those great 'crooked' Old-time tunes, it has 14 measures and the B part just sort of develops as an afterthought at the end of A part. I really liked it so I wrote 3 variations for it; the first one in the same octave as the melody but the second and third are an octave lower, lots of fun to play.
You might want to play it high-low-high-low. Key A minor Arr. Mike Stangeland for GUITAR This is another one of those dark and beautiful that draws you to it and makes you want to learn it. Named after County Clare musician Bobby Casey.
Recording: Kevin Burke: 'If the Cap Fits' Key C Arr. Mike Stangeland for GUITAR Key C Arr. Mike Stangeland for GUITAR This wonderful Old-time fiddle tune probably owes its popularity to Bill Monroe who when he played it in his shows told everyone that it was one his Uncle Pen's favorite 'numbers.' Probably the best recording of this number was done by Ricky Skaggs and Kentucky Thunder on the CD 'Ancient Tones' tears it up on his break! Recordings:: 'Ancient Tones': 'The Rounder Album': 'The Norman and Nancy Blake Compact Disk' Key D Arr. Mike Stangeland for GUITAR This arrangement of this popular old Irish fiddle tune is pretty basic.
I've included fingerings that'll help you with the move up the neck in the B part. Recordings: Seamus Egan: 'In Your Ear' Arcady: 'Happy Returns' John Carty: 'Last Night's Fun'. Key C Written by Norman Blake, Arr. Mike Stangeland for GUITAR This gem was originally written for mandolin by who recorded it with on their 'Blake and Rice 2' album. Key E (capo 2, D position) Written by Bill Monroe, Arr.
Mike Stangeland for GUITAR Written by Bill Monroe and recorded several times by others, this is a great tune but seldom heard in jam sessions. It may be in for revival because Bryan Sutton does a bang up flatpick version of it on his CD 'Ready to Go'. This arrangement was drawn from several transcriptions I made from various players but follows the original melody pretty closely and really plays well on guitar. Recordings:: 'Ready to Go': 'Blue In The Blue Ridge' Bill Monroe: 'Bear Family 1950-58 Vol. 3' Kenny Baker: 'Plays Bill Monroe', 'Bluegrass Instrumentals' Bluegrass Album Band: 'Bluegrass Instrumentals (Volume 6)' Dreadful Snakes: 'Snakes Alive'. Key A (capo 2, G position) Arr.
Mike Stangeland for GUITAR This tune is a Texas Fiddle Favorite according to. It is one of our favorites too. Recordings: Lewis Brothers: 'Cornshucker's Frolic, Vol. 1', 'Old Time Texas String Bands, Vol.
1: Texas Farewell', 'Old Mountain: Stringband Songs & Tunes' &: 'The Fun of Open Discussion' Key G Arr. Mike Stangeland for GUITAR This great old tune has been recorded many times over the years by many of the great flatpickers and others. The best guitar versions IMO were those recorded by Norman Blake and Bryan Sutton. My arrangement relies heavily on the playing of mandolinist Jessee McReynolds.
Recordings:: 'Slow Train Through Georgia' (with ): 'Not Too Far From The Tree' Gid Tanner and the Skillet Lickers: 'Skillet Lickers, Vol. 1: 1926-1927 ' Etta Baker: 'One-Dime Blues' Douglas Dillard: 'The Banjo Album' &: 'Not Much Work For Saturday'.
Key A (capo 2, G position) Arr. Mike Stangeland for GUITAR Also known as 'Campbell's Farewell to Redcastle.' According to: 'The Campbell referred to in the title may be the Captain Robert Campbell of Glenlyon, who led troops in the massacre of Glencoe Pass in 1692. Redcastle is a village on the north side of Beauty Firth approximately 100 miles from Glencoe, whose castle was built in 1179 (it claims to be the oldest inhabited castle in Scotland).' We like the tune and decided to make a guitar version of it. Mike Stangeland for GUITAR An old country blues classic that found it's way into Bluegrass and Old-time circles.
I transcribed a live recording of Mike Compton playing it and used it as a basis for this guitar version. Recordings: Nashville Bluegrass Band: 'My Native Home' Narmour & Smith: 'Mississippi String Bands - Volume Two' (probably the greatest recording ever made of this tune): 'Pickin' Blues' (excellent flatpicked version) Johnny Gimble: 'World's Greatest Country Fiddlers' Highwoods Stringband: 'Feed Your Babies Onions: Fat City Favorites' Key A major and A minor Arr. Mike Stangeland for GUITAR I was once asked what the most perfectly played flatpicked style tune I'd ever heard was and 'Cattle in the Cane' by Tony Rice immediately came to mind.
It's truly a classic, just he, playing lead, and his brother playing rhythm guitar on the album 'Church Street Blues'. That said, the most incredible version on any instrument I've ever heard was played by a 'Texas Style' fiddler named Terry Morris on his album 'A Touch of Texas, Fiddlin' That Is', it's melodic perfection. Unfortunately Terry died in a diving accident many years ago, some still consider him the all time best Texas Style fiddler that ever dragged a bow. This tune has been recorded many times through the years and remains a popular jam session tune. To honor Rice I play something close to his A part and my B part came from a fiddle version. Recordings: Terry Morris: 'A Touch of Texas, Fiddlin' That Is': 'Church Street Blues': 'Back Home in Sulphur Springs' and: 'Star of the County Down' Clay Jones: 'Bluegrass 95': 'Pineywoods' Key A minor Written by Amy Cann, Arr. Mike Stangeland for GUITAR and Kim Davis According to: 'Composed by Amy Cann, a fiddler and music teacher from Putney, Vermont.
The tune is popular with New England contra dance musicians.' It was originally written in G minor, but plays easier in A minor on the guitar. Recording: Natalie MacMaster: 'No Boundaries' Key A (capo 2, G position) Arr. Mike Stangeland for GUITAR This one is really fun to pick and is popular at Bluegrass jams.
The Fiddler's Companion states, 'Banjo player Howard Bursen identifies the tune as a West Coast version of 'Lonesome Indian,' and that it was derived from fiddler Tommy Magness who recorded the tune in the 1930's. Tommy Jackson is generally credited with transforming Magness's 'Lonesome Indian' into 'Cherokee Shuffle.' My version follows the Jackson treatment, the B part is crooked having a extra measure. Recordings: Herschel Sizemore: 'Bounce Away ' &: 'Not Much Work For Saturday' 'The Great Dobro Sessions': 'Lifescapes' Key A minor Arr. Mike Stangeland for GUITAR According to: 'Chicago takes its name from the Native American word chicagou, or the onion place, a hollow where wild garlic grew at the southern tip of Lake Michigan.' Recordings: Gerard Commane & Joe Ryan with Eoin O'Neill: 'Two Gentlemen of Clare Music' Tommy Peoples: 'The Iron Man' Key D Arr.
Mike Stangeland for GUITAR An interesting Old-time tune that has survived and has been recorded several times in the last 20 years by major players. This is a simple straight ahead version, good for a beginner to learn.
Recordings:: 'American Portraits': 'The Lost Fiddler' Clark Kessinger: 'The Legend of Clark Kessinger': 'Panorama' (Wonderful version by 2 masters, David and ) Key D minor Written by Peter Ostroushko, Arr. Mike Stangeland for GUITAR This is a truly beautiful melody, one of my all time favorite tunes.
Written by and recorded on 'Sluz Duz Music' as a mandolin instrumental, it sounds great on flatpicked guitar. Key A (capo 2, G position) Written by Dr. Ralph Stanley, Arr. Mike Stangeland for GUITAR This tune was written by Dr. Ralph Stanley in the 1930's. It has been been an extremely popular tune for many years and is a Bluegrass jam session standard that everyone must know. The B part has a 2/4 measure which accounts for the 'Backstep.'
Recordings:: 'Hootenanny' Clarence White: '33 Acoustic Guitar Instrumentals' The Stanley Brothers: 'The Stanley Brothers and the Clinch Mountain Boys'. Key A minor Arr. Mike Stangeland for GUITAR & Kim Davis This arrangement is largely based on Tom Rozum's mandolin version. It is an old-time classic played by many generations in many styles. All the recordings we have heard were played in A minor.
We've included a lower octave part which really growls. Recording: Front Line: 'Two Cabins' Key D (capo 2, C position) Arr.
Mike Stangeland for GUITAR An American Old-time tune that plays well on guitar. Wilgus, in his article 'The Hanged Fiddler Legend in Anglo-American Tradition'.' Said, 'Joe Coleman, a shoemaker, was accused of stabbing his wife to death near the town of Slate Fork, Adair County, Kentucky, as recorded in the Burkesville Herald Almanac for 1899. Convicted on circumstantial evidence and the testimony of his sister-in-law who was living with them at the time, Coleman, was tried in nearby Cumberland County and sentenced to death.
While being driven to the place of execution in a two-wheeled ox cart, Coleman sat on his coffin and played a tune that has come down as 'Coleman's March.' Key E minor Arr.
Mike Stangeland for GUITAR Another classic Irish fiddle tune. This arrangement is a straight ahead version for flatpicked guitar.
If you want to hear an outrageously cool version, listen to Russ Barenberg's recording on his 'Halloween Rehearsal' CD! Recording: Russ Barenberg: 'Halloween Rehearsal' Key C Arr. Mike Stangeland for GUITAR A classic Texas fiddle tune which has become a popular contest tune for flatpickers.
Recording: Cody Kilby: 'Live From Winfield', 'Flatpicking '99' Robert Shafer: 'Winfield Winners': 'Pickin' in the Wind': 'Cliffs of Vermilion' Orrin Star: 'No Frets Barred' Benny Thomasson: 'Weiser Reunion' Key A minor Written by Tommy Jackson, Arr. Mike Stangeland for GUITAR This is the original version written by the fiddler Tommy Jackson and it is written in the key of A minor.
Most of the recorded versions are in the key of A major. I will add A major versions in the future. The best version ever played of this tune is by Wyatt Rice on his 'New Market Gap' CD. Recordings: Wyatt Rice: 'New Market Gap': 'Take a Step Over': 'Lifescapes' Key A minor Written by Aubrey Haynie, Arr. Mike Stangeland for GUITAR Another great tune written and recorded by Aubrey Haynie, one of Nashville's top session musicians. I transcribed Aubrey's mandolin break and arranged it for guitar.
Recording:: 'A Man Must Carry On' Key D Arr. Mike Stangeland for GUITAR A beautiful traditional Irish tune that became very popular among the Old-time and Bluegrass players in the US, the Irish often play it as a slow 'air' but when it crossed the ocean it became a reel. I learned it from a mandolin recording on 'Fields of November - Old and New' For a wonderful Irish version check out Dave Swarbrick & Martin Carthy on 'Rags, Reels, and Airs' - 'Nickel Creek' (a great contemporary version) - 'A Cut Above' (excellent flatpicked version by a National Champion).
Mike Stangeland for GUITAR My arrangement of this great fiddle tune was influenced somewhat by Kenny Baker, but in general I tried to follow the melody closely and still make it work well on flatpicked guitar. Recordings: Kenny Baker: 'Master Fiddler' Clay Jones cooks on this tune on: 'Bluegrass '95' (maybe the definitive flatpicked version of all time!): 'Bluegrass Guitar' Key A (capo 2, G position) Written by Bill Monroe, Arr.
Mike Stangeland for GUITAR The more you transcribe, study and play the instrumentals written by Bill Monroe, the more you come to understand what a musical genius he was. This medium paced gem is extermely powerful. I transcribed the mandolin breaks by and on the 'Travelers' CD and used it as a basis for this guitar version. This is a good'un, I think you'll like it. If you find a copy of the 'Muleskinner Live: Original Television Soundtrack' CD, listen to Clarence White's rhythm back up, it's excellent. Recordings: Bill Monroe: 'Bill Monroe', 'Bluegrass 1959-1969 (4 of 4)', and: 'Travelers' Clarence White plays great rhythm on 'Muleskinner Live: Original Television Soundtrack'. Key D (capo 2, C position) Arr.
Mike Stangeland for GUITAR An extremely popular fiddle tune that's played in both the Bluegrass and Old-time camps. This is a 'Plain Jane, no frills' version that you can use to build your own rendition. Recordings:: 'Tony Rice' Clarence White on 'Muleskinner Live: Original Television Soundtrack': 'Raw Guitar' Key A minor Arr. Mike Stangeland for GUITAR Key A minor Arr.
Mike Stangeland for MANDOLIN Key D minor Arr. Mike Stangeland for GUITAR Key A minor Arr. Mike Stangeland for MANDOLIN This powerful old fiddle tune is unusual because of its structure, it's played AABBCCB. I added an arrangement in D minor partly because that's where Norman Blake plays it and partly because I like the way it sounds and feels in D minor. We have six recordings of this tune. Everyone plays it in A minor except Norman. Recordings:: 'Living Reel Time Thinking Old-time': 'The Norman and Nancy Blake Compact Disk': 'Take Two': 'Dreamer's Waltz' Mike Whitehead: 'Acoustic Timbre' The Wretched Refuse String Band: 'The Wretched Refuse String Band' Key G Written by DeFord Bailey, Arr.
Mike Stangeland for GUITAR This tune was written by a black harmonica player named DeFord Bailey who performed with Bill Monroe for a short period. Monroe picked the tune up from him and recorded it and it has been popular among mandolin players and bluegrass instrumentalists ever since. My guitar version is in open G, but you may want to try it capo 3, E position because it looks like it might play well there and be easier.
Recordings:: 'I've Got the House to Myself' Bill Monroe: 'Master of Bluegrass' &: 'Reflections' & David Long: 'Stomp' DeFord Bailey: 'Harp Blowers (1925-1936)'. Key B minor (capo 2, A minor position) Written by Pete Jung, Arr. Mike Stangeland for GUITAR This is a really beautiful slow tune written by Pete Jung. I've arranged it for harmony guitars from a mandolin file sent to me by a friend. Recording: The Cape Cod Fiddlers: 'Concert Collection II' Key D minor Written by Michel Ferry, Arr. Mike Stangeland for GUITAR This powerful driving tune was written by an Irish style fiddler named Michel Ferry who lives near Paris, France. Recording: Bumblebees: 'Buzzin' Key D Arr.
Mike Stangeland for GUITAR An Old-time tune popular with flatpickers, Recorded by and. I've included a basic and a more advanced version in my arrangement. Recordings:: 'Whiskey Before Breakfast': 'Instrumental Guitar Collection (1964-1998)': 'Sweet Reason' Key C minor (capo 3, A minor position) Arr.
Mike Stangeland for GUITAR This is a popular folk tune with the Finnish ethnic community in northern Wisconsin that we like so we decided to make a flatpicked version of it in our style. Key A (capo 2, G position) Arr. Mike Stangeland for GUITAR This is a very old tune of uncertain origin usually played at breakneck speed. It's very fun play with other guitarists and mandolin players but can become completely out of reach as soon as a fiddler walks up! Recordings: and Tut Taylor: 'Flatpickin' in the Kitchen': 'Livin' in the Past' Bill Monroe and: 'Live Duet Recordings 1963-1980' Bill Monroe: 'Bear Family 1959-69 Vol. 3' Key E Written by, Arr. Mike Stangeland for GUITAR Key E Written by, Arr.
Mike Stangeland for GUITAR Don't let the name scare you off, this is a great bluegrass instrumental off Ricky's 'Brand New Strings' CD and one of the best jam tunes I've run into in a long while. It's an E major modal tune that primarily uses the Em/G scale and occasionally throws in a 3rd for flavor. Once you get the groove of it you can pull out all your G licks and hammer away.
The best part of all is that it's played at 190 BPM (95 BPM for the 1/4 note challenged ) so you can really stretch out and have fun. I've also included a mandolin break and arranged the guitar break from it. Key A (played open) Arr. Mike Stangeland for GUITAR Key A (capo 2, G position) Arr.
Mike Stangeland for GUITAR & Kim Davis Also known as 'The Mayday Hornpipe' and 'American Hornpipe';, a master of Old-time fiddle, recorded it on his album 'Rounder, Old-time Music.' Listed in the as an 'Old-time American' fiddle tune probably coming from Arkansas. It has a lovely melody. We have two versions loaded here, we prefer the version played out of G position with the capo on the second fret. Mike Stangeland for GUITAR Key D Arr. Mike Stangeland for MANDOLIN A jam session standard that's really fun to flatpick. My version is based on several versions and includes a 'C' part that you don't often hear played in jams or on recordings.
Recordings: Best flatpicked version I've ever heard is by Wyatt Rice on 'New Market Gap' - 'Blue Ribbon Guitar' & - 'Into the Cauldron' (true virtuosity!) Key A minor Arr. Mike Stangeland for GUITAR This is a really beautiful and powerful ethnic waltz performed by an outstanding group called the Mando Mafia and released on their 'Mando Liniment' CD. If you love no-holds-barred, push-the-limits, great old-time/eclectic mandolin in an ensemble form this is the group you want, they have four CDs. 'Flatworld' is a haunting fast waltz with a harmony section that'll give you chills. I've included it in this transcription for two guitars. Hope you enjoy it. Recordings: 'Mando Liniment,' 'Take Two,' 'Get up in the Cool' and 'Get Away' Key D (capo 2, C position) Arr.
Mike Stangeland for GUITAR Another great D fiddle tune that plays great in capo 2, C position. Recordings:: 'Dragon Reels': 'Hills of Home: 25 Years of Folk Music on Rounder Records' Key D (capo 2, C Position) Arr. Mike Stangeland for GUITAR This Old-time fiddle tune is a flatpick standard common in jams.
It's played in D and flatpickers most often play it in capo 2, 'C' position because it's a very fast tune and you can generally play it faster in that position than open D. My version is pretty close to the standard accepted melody most play. Recordings: &: 'Climbing the Walls' Steve Pottier &: 'Flatpicking '97' Rob Pearcy: 'Hats Off' Key E (capo 2, D Position) Written by, Arr. Mike Stangeland for GUITAR This is a great flatpicking tune.
I've transcribed Doc's version from his 'Look Away' album and included both of his breaks and his outro. Doc is a great national treasure and one of the fathers of the flatpicking style of guitar playing.
Mike Stangeland for GUITAR A very pretty old Scottish reel with an infamous name. History has it that the 'flowers' were actually human waste floating in the ditches along the streets from people tossing the contents of their chamber pots out the window. None the less, it's an often played and loved by many tune.
I've included a simple version and an embellished version that'll take you up the neck for a few measures. Recordings: Rob Pearcy: 'Hats Off' (great flatpicked version): 'Gagged But Not Bound' (excellent flatpicked version - best we've ever heard!) John Carty & Brian McGrath: 'Cat That Ate the Candle' Gary Smith: 'Plectrology II' Key D (capo 2, C position) Arr. Mike Stangeland for GUITAR This is one of the most popular of the Old-time fiddle tunes, it's quite easy to play at dance speed on any instrument and plays particularly well on guitar. It has been recorded many times, we have over 40 versions in our collection.
There is an interesting quote about this tune in: 'The dance tune known as Forked Deer is regarded as vulgar in the Ozarks, because the title has a double meaning. Forked might refer to the deer's antlers, but it is also the common Ozark term for ‘horny’, which means sexually excited. The word is always pronounced ’fork-ed’, in two syllables. I have seen nice young girls leave a dance when the fiddler began to play Forked Deer.' Recordings: (with ): 'Not Too Far from the Tree': 'Panorama': 'Fields of November/Old and New': 'The Hobo's Last Ride' Jeff Autry on 'Bluegrass '97': 'Bluegrass Guitar' and Alan Munde: 'Windy Days and Dusty Skies' Major Franklin: 'Texas Fiddle Favorites' Key A (capo 2, G position) Written by Kenny Baker, Arr.
Mike Stangeland for GUITAR This tune was written by Kenny Baker and recorded by him on two albums. I played it on mandolin for many years and decided to make a guitar arrangement for it, it seems to work pretty good. Recordings: Kenny Baker: 'Frost on the Pumpkin', 'Farmyard Swing'. Mike Stangeland for GUITAR I transcribed this from a wonderful old album Norman Blake did with mandolinist Red Rector, 'Red Rector & Norman Blake.' Recordings: Red Rector and: 'Red Rector & Norman Blake': 'Whiskey Before Breakfast': 'I've Got the House to Myself': 'A Few Favorites' Key A (capo 2, G position) Arr. Mike Stangeland for GUITAR The Fiddler's Companion states, 'Old-Time, Breakdown.
Tennessee, Kentucky. This piece has been popular as a banjo/vocal number and has a reputation as a driving banjo tune among musicians in eastern Kentucky and Tennessee.The piece was recorded in 1924 by Tennessee's Uncle Dave Macon. It was also recorded in the 20's by other south-central or eastern Kentucky musicians such as Henry L.
I transcribed a wonderful version recorded by a young mandolin player named Ashby Frank on his CD 'First Crossing' and used it as a basis of my guitar version. Key G Written by Bill Monroe, Arr. Mike Stangeland for GUITAR This tune was composed and recorded by Bill Monroe and later by the recorded by the incredible and master guitarist on their CD 'Climbing The Walls' (one of the best recordings of any kind I've ever heard.) It has real punch and drive and is fun to play. Key A (capo 2, G position) Written by Bill Monroe, Arr. Mike Stangeland for GUITAR This is a classic jam tune every flatpicker should know. Gold Rush has been recorded many times by the world's top flatpickers and fiddlers and mandolinists so there's a lot of listening material out there to help you create your own version. Recordings: Kenny Baker: 'Master Fiddler': 'Freewheeling': 'Church Street Blues' & 'Unit of Measure' & Cody Kilby on 's CD: 'Flatpicking Favorites: Hot & Spicy': 'Heroes': 'Bluegrass Guitar' Bill Monroe: Bear Family Box Set 'Bluegrass 1959-1969' Key Bb (capo 3, G position) Arr.
Mike Stangeland for GUITAR According to, this was probably once a mid-19th century brass band tune, originally meant to be played on an instrument that featured 'tonguing' articulation of notes like a coronet. This tune is excellent for developing your right hand technique.
There are several phrases which jump back and forth across the strings, difficult but way cool when you get it. Mike Stangeland for GUITAR This is a perfect tune for playing under a green canopy of trees with a field of wildflowers spread down the hill in front of you. Key G Written by Norman Blake, Arr. Mike Stangeland for GUITAR This tune was written by and recorded on his album 'Fields of November/Old and New.'
This is one of those tunes that would best be called charming, refreshing and uplifting. Key G Written by Phil Beer?, Arr. Mike Stangeland for GUITAR Don't really know much about this one accept it was supposed to be written by Phil Beer. If you like rags you'll like this one, it has all the standard 'hooks' of the genre and is well written. There are some difficult phrases but the advanced intermediate should be able to play it over time. Recorded a tune called 'Bowling Green Rag' on his 'Be Ready Boys' CD that sounds a lot like it.
Key A (capo 2, G position) Arr. Mike Stangeland for GUITAR This is one of the standards in the Texas Fiddle tune bag and became a standard for Bluegrass players also. We have 45 different recordings of it in our collection. This tune is tough and will take a lot of work but it's worth it, it's clearly one of the best of the genre. Recordings: Howdy Forrester: 'Fancy Fiddlin, Country Style' Benny Thomasson: 'Weiser Reunion': 'W.C. Henderson & Co.' : 'Lady's Fancy': 'Championship Years': 'Dad's Favorites'.
Key D Written by Pete Marshall, Arr. Mike Stangeland for GUITAR I transcribed this tune from 's 'Get Up in the Cool' CD. They are one of our favorite Old-time groups. Somebody once described them as 'Old-time in overdrive' and this tune is a clear demonstration of that means!
Key C Written by Bill Monroe, Arr. Mike Stangeland for GUITAR This is another of Bill Monroe's powerful blues flavored instrumentals. It's a big favorite among mandolin players, but you don't hear it commonly in jam sessions. I've arranged two rounds of the melody from a transcription I did of Mike Compton's incredible playing. Besides Bill Monroe's original version on 'Blue Grass Special,' the version done by & on the 'Climbing the Walls' CD is definitive.
You can't do it better than that! Recordings: Bill Monroe: 'Bluegrass Special', 'Mule Skinner Blues', 'Early Works' & 'Climbing the Walls': 'Old Town'. Key A (capo 2, G position) Written by Byron Berline, Arr. Mike Stangeland for GUITAR A very powerful fiddle tune written by Byron Berline that is very popular with flatpickers.
This is partially due to the early recording of it by Dan Crary on his 'Lady's Fancy' album. My version sticks pretty close to Berline's actual fiddle transcription, but I've modified some parts so it's easier to play on guitar. Recordings: & Richard Starkey: 'Delaware Crossing' The Country Gazette: 'Traitor in Our Midst/Don't Give Up Your Day Job': 'Lady's Fancy'. Key A (capo 2, G position) Arr. Mike Stangeland for GUITAR This a really cool traditional Texas fiddle tune that plays well on guitar. Recording: Benny Thomasson: 'Country Fiddlin' From the Big State', 'Weiser Reunion' Key A Arr.
Mike Stangeland for GUITAR Kim and I have been long time fans of the music of Norman and Nancy Blake. Discovering Norman's early albums in the '70's made me lay down the Stratocaster and buy my first Martin D-18. He's a national treasure. This tune is a beautiful traditional Scots-Irish tune they recorded several years ago.
It's a good beginner tune - pay attention to tone and note duration, 'Let them notes ring!' Recordings: 'Full Moon on the Farm' and 'Lighthouse on the Shore' Key A minor Written by Norman Blake, Arr. Mike Stangeland for GUITAR This hard charging instrumental was written by Norman Blake as a mandolin instrumental and recorded on the album 'Natasha's Waltz'. I've arranged both high and lower octave break for it. Recordings:: 'Natasha's Waltz': 'Panorama' (Grier plays this in G minor) Fletcher Bright Fiddle Band: 'Fletcher Bright Fiddle Band' Key A minor Written by Bill Monroe, Arr. Mike Stangeland for GUITAR This tune is a sacred icon of Bluegrass music, I consider it the best instrumental tune ever written in the genre. It was rumored for years that it was too complicated for Bill Monroe to write and Kenny Baker actually wrote it but Kenny cleared that up by stating on film that Monroe alone wrote it.
Kenny said he had a difficult time learning it, it took him two weeks. Every Bluegrass musician should know this one. I transcribed Kenny Baker's fiddle break and arranged it for guitar, it's very close to note-for-note. Kenny's solo is as near to musical perfection as it gets; some tunes defy embellishment and lose their soul the further they get away from the original.
I've heard only one other recording that did it justice, 's version on 'Church Street Blues' Recordings: Kenny Baker: 'Plays Bill Monroe': 'Church Street Blues', 'Unit of Measure': 'Blackberry Blossom' Jeff Autry on 'Bluegrass '97': 'Heroes': 'Plain and Fancy' Key A (capo 2, G position) Arr. Mike Stangeland for GUITAR Another great Old-time tune that has become a jam session standard across the nation.
This is really easy to play on guitar so you should be able to get it up to performance speed quickly. Recordings:: 'Reunion Rag': 'Instrumental Guitar Collection (1964-1998)'. Key G minor (capo 3, E minor position) Written by Bill Monroe, Arr. Mike Stangeland for GUITAR A great mandolin instrumental written by Bill Monroe.
It's a Gm tune and I play it Capo 3 in Em position. Recordings: Bill Monroe: 'The Best of Bill Monroe': 'Old Town' Key A (capo 2, G position) Arr. Mike Stangeland for GUITAR This has long been one of our favorite tunes, even though it's not been recorded many times it's still quite popular at jam sessions. My arrangement includes a high and a low octave version that's a lot of fun to play. We think you'll enjoy this one. Recordings: on 'Flatpicking Guitar Festival': 'Breaking Out': 'Lifescapes' Butch Baldassari & Mike Stangeland playing 'Kitchen Girl' at SPBGMA 2003.
Key D (capo 2, C position) Arr. Mike Stangeland for GUITAR This tune is extremely popular in most parts of the US, probably first recorded by Bob Wills, having been recorded over the years more times than just about any fiddle tune. It's a 'must know' for the flatpicker. Recordings: and Tut Taylor: 'Flatpickin' in the Kitchen' and Earl Scruggs: 'Strictly Instrumental' The Skillet Lickers: 'Old-time Fiddle Tunes from North Georgia': 'Double Trouble' Key C Written by Carl Sigman/Joe Sullivan, Arr. Mike Stangeland for GUITAR A popular jazz tune from the 1930's that made its way into the flatpicking repertoire and is considered a standard for advanced players.
My version is pretty generic and follows the original melody line closely. If you want to hear the full potential of this song, you've got to listen to Allen Shadd's stage performance on the 'Live From Winfield' CD.
Recordings:: 'Live From Winfield' (best flatpicked version we've heard, he absolutely tears it up!) Randy Howard and Robert Schafer: 'Swingin' Appalachian Style' Jeff Autry on 'Bluegrass '97' Cody Kilby: 'Down Home Pickin' Bob Crosby and His Orchestra: 'South Rampart Street Parade' Key A minor (capo 5, E minor position) Arr. Mike Stangeland for GUITAR There is a very cool story about this song on website which you must read (click the link in this sentence) Recordings:: 'Directions' Fuzzy Mountain String Band: 'Summer Oaks and Porch' Key D minor Written by Vassar Clements, Arr. Mike Stangeland for GUITAR Written by the great fiddler Vassar Clements and recorded on the first 'Will the Circle Be Unbroken' album, this tune became instantly famous, learned by everybody in the bluegrass camp and has been played and recorded ever since.
I expect it to be popular for a long time yet. I've been playing it since the mid 1970's and every time I play it it comes out different. Today this is what it sounds like;^) Recordings: (with ): 'Not Too Far from the Tree' with the: 'Will the Circle Be Unbroken' with Old and In the Way: 'That High Lonesome Sound Volume 2': 'Vassar Clements' Newgrass Revival: 'Newgrass Revival' Key D minor Written by Bill Monroe, Arr. Mike Stangeland for GUITAR One of the most beautiful waltzes ever written in Bluegrass music, Monroe was truly a musical genius. My arrangement has a lot of triplets in it which you can replace with hammer-on/pull-offs or slides if you wish.
Recordings: Bill Monroe: 'Monroe Instrumentals 1968-94', 'Bear Family 1970-79 Vol. 1' Bill Monroe and: 'Live Duet Recordings 1963-1980' Bluegrass Album Band: 'Bluegrass Instrumentals (Volume 6)' Key D (capo 2, C position) Arr. Mike Stangeland for GUITAR This is another great fiddle tune that had wide popularity but has now been eclipsed by 'Cherokee Shuffle' which is a modern makeover of the older tune. You seldom hear anyone playing this tune but I still love it so I made a flatpicked version of it.
Recordings: &: 'Blake & Rice 2' Kenny Baker: 'Master Fiddler', 'Farmyard Swing' Benny Thomasson: 'Country Fiddlin' From the Big State'.
I tried posting this question in the General Mandolin forum.maybe I'll have better luck here. I just came from Scott T's 'Texas Swing Mandolin' chord page here at the Cafe. #I've seen this sort of thing before and have heard a fair amount of swing music. #I have heard #tunes played BG style and swing style.
#I hear the differences, but cannot understand how the swing chords are chosen, how a given pattern of swing chords can serve different tunes.or much else. For the life of me, I cannot make sense of how to apply this chord 'progression' or 'pattern' to any tunes I know. #Scott suggests that his patterns work for tunes 'like' Sally Gooden or Katy Hill, and even some Celtic tunes, suggesting the same chords could be used for other tunes. #(Not many standard tunes have the exact same chords or progressions.) I just don't get this. #How can the same chord progression work for tunes that I know are not played with the same chords in a non-swing style?!? # There is a fundamental point I am missing and I am unable to express the right question, I guess.
Steel Guitar Rag Tabs
#In Scott's example, he gives the chords for the keys of G and A. #I would at least expect the relative chords in both examples to be the same, e.g., a diminished 7th in the G set would match up with a diminished 7th two half-steps higher in the A set, but nope, they don't-not entirely, anyway.
Am I just 'swing challenged,' or stupid, or what?!? # http://www.mandolincafe.net/iBhtml/non-cgi/emoticons/wow.gif.
First, listen to some recordings of Texas style fiddle. Mark O'Connor's Championship Years (1989 Country Music Foundation Records) is a good place to start. You'll hear the chord substitutions in the playing of the guitar players on this set.
Without the recordings it would be too difficult to imagine the sound of the music. The most basic substitution is to fit a G G#dim Am D7 progression (2 beats each chord) into a space where there is only a G chord. Also to replace two bars of D7 with D7///Am/D7/. It sounds like you're being a bit too literal in the example above. Listen to the first two bars of 'I Got Rhythm' by George Gershwin if you can for the G G#dim Am D7 progression.
Most libraries with a jazz collection would have a recording of this tune. I'll try to explain this further. First off, this isn't a one-pattern-fits-all-songs thing. That was never said.
But it can be pretty darn close to it for.some. songs. From what you've said I'm getting the impression you believe I said this one pattern fits.everything., which certainly isn't the case. The exact quote is: One of my favorite sounds is a chord pattern based on the changes associated with 'Texas style' fiddling tune playing. This pattern will work with tunes like Sally Goodin', Sally Johnson, Katy Hill, and many others. I also find that parts of these patterns work nicely with Irish and Scottish reels & some hornpipes (not the exact pattern, but parts of). Sally, Katy Hill and tunes like Grey Eangle share pretty common chords.
Parts of the Texas progressions fit parts of Celtic and other fiddle tunes-not the entire tune necessarily. Those fiddle tunes have very common elements (parts, not the complete tune) of hundreds of Texas swing tune vocals like Miss Molly, Take Me Back to Tulsa, etc. If you have: G - G7 - C6 - C#dim - G that's essentially the same as: G - G - C - C - G That first will also work well over: G - G - D - D - G (Miss Molly!) That's because you could write Molly as: G - G - C - D - G Plenty of songs going from G to C and back. Or G to D and back. The swing element is simply substituting sympathetic chord tones for the more common, simpler chord versions.
Sally Goodin' is essentially G/D or A/E in it's simplest forms. The chords I wrote out are just substitutes for the simpler versions. Rather than make it more difficult than it really is, it's best to let your ear hear the difference before worrying about the technical explanation. One of the best examples I can think of is Ricky Skaggs' recording of Sally where he plays it straight then busts into the swing chord change toward the end. The advice everyone is giving is sound that I've read so far so hang in there. Thanks, you guys.
This helps.at least as to why I am so confused. This is one of those things that might take me to a new level. (I could use a new level, believe me.) It's easy enough to try the given chord set for a bunch of tunes to see where it works.
My trouble starts when they DON'T work. I have no idea what to change to make them work. But, I'll stick with it. Sounds like listening is the ticket.
Scott, I have a copy of your 'Girl I Left Behind.' I've enjoyed it for some time. I'm using it as a lesson on swing chords now.
Did you say amused or AMAZED? #I assume that you played the same chords on the mandolin, then, too. #(Duh.) #I was listening to GILBM for the chords at first, then got distracted by your version of the tune. #Once I started playing that (playing AT it, would be more correct), I sort of forgot about the chords. #Now, I'm eager to go back and try the chords.maybe it was that I had trouble figuring out the key. #Those chords don't give you a solid tonic to work from. #But I seem to remember the melody was in G.
Thanks, Scott. Plugging Away, Mike #http://www.mandolincafe.net/iBhtml/non-cgi/emoticons/tounge.gif. The Cotton Patch Rag mp3 is the version in the book all the way through. #How I did the book was record myself playing the versions as faithfully as I could to the fiddle versions, then transcribed my own playing.
#The CD is the original recording. Answering the original question, lets take the common tune Sally Goodin. #Here are the easy chords A / / / # A / E A A / / / # A / E A This can easily be played with other chords that add more musical movement. A / D / # #A / E / A / D / # #E / / A What Texan fiddle music does is substitute chords over the original progression with even a little more movement. #'D#o' is D sharp diminished in the following. #'A/C#' means an A chord with a C# bass note.
A A/C# D D/F# # A A/C# E E/G# A A/C# D D#o # #E E E A Then the swing guys substitute more jazzy sounding chords over this, such as A becomming A6 or Amaj7, E becomming E9 or E13, etc. # Texas fiddling is an oldtime fiddle style, so I dont hear many swing chords by the players who play it. #The Western Swing guys (Bob Wills, etc) added the other swing chords. Hopefully this explains some more about the chord progressions. For people who want to hear more of this stuff and learn some, I suggest to great recordings of Benny Thomasson on the Voyager label (www.voyagerrecords.com) 'The Weiser Reunion' and 'Say Old Man'. #I recommend these as his son Jerry plays tenor guitar on most of this. #The mando works great playing tenor chord voicings (both are tuned in 5ths).
#these type voicings work better in the oldtime fiddle style as opposed to the Western Swing. I put out one article in Mandolin Magazine a couple years back about this Sally Goodin progression with these tenor type voicings. #The stuff Joe Carr has put in (excellent stuff) has been more for Western Swing sounding voicings. #Search the archives at Mandolin Magazine to find which issues they are in. #If there is enough interest, I can maybe put some of these tenor guitar progressions into the archives here if someone can tell me how. #Contact me through my web site.