Vol_17_No_6

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$6.00

Magazine

Volume

17,

Number

6

6 September/Octo

September/Octo

ber

2013

Carl

Jackson

Elliott Rogers

Andrew Rigney

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Flatpicking

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Flatpicking Guitar Magazine

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Interviews, fatpicking tunes, and more. Check it out:

FEATURES

Carl Jackson & “Amazing Grace” 6 Flatpick Proﬁle: Elliott Rogers & “Little Teardrops” 27 John Baxendale and the Colorado Guitar Company 47 CD Highlight: Andrew Rigney & “Double or Nothing” 60

COLUMNS

Bluegrass Rhythm Guitar: “Munde’s Child”

15 Joe Carr

Beginner’s Page: “Cryin’ Holy”

18 Dan Huckabee

Kaufman’s Corner: “Old Gospel Ship”

20 Steve Kaufman

Taking It To The Next Level: “Precious Lord”

23 John Carlini

Nashville Flattop: “Never Give The Devil A Ride”

25 Brad Davis

“Gathering Flowers from the Hillside”

30 Adam Schlenker

“You Are My Sunshine”

35 Beppe Gambetta

“Swing Low, Sweet Chariot”

38 Orrin Starr

“Old Time Religion”

41 Dix Bruce

“Gnarly”

43 Mike Maddux

Sharpening the Axe: “Cottonwood Rag”

49 Jeff Troxel

Flatpicking Fiddle Tunes: “Doheny’s Favorite,”

“Doherty’s Reel” &“Done Gone”

52 Adam Granger

Classic Bluegrass: “Salty Dog Blues”

54 Steve Pottier

Practice (Oh Yuck!) Part 2

56 Dan Crary

Chosing A Vocal Coach

58 Kacey Cubero

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The Flatpicking Essentials Series

The fourth book in the Flatpicking Essentials series teaches you how to become familiar with using the entire ngerboard of the guitar and it gives you many exercises and examples that will help you become very comfortable playing up-the-neck. With this book and CD you will learn how to explore the whole guitar neck using a very thorough study of chord shapes, scale patterns, and arpeggios. You will also learn how to comfortably move up-the-neck and back down using slides, open strings, scale runs, harmonized scales, oating licks, and more. If you’ve ever sat and watched a professional players ngers dance up and down the ngerboard with great ease and wondered “I wish I could do that!” This book is for you!

In the “Pioneers” issue of Flatpicking Guitar Magazine Dan Miller laid out a atpicking learning method that followed the chronological developme nt of the style. This step-by-step method started with a solid foundation in the rhythm guitar styles of atpicking’s early pioneers—a style that includes a liberal use of bass runs and rhythm ll licks, combined with rhythmic strums. Volume 1 of the Eight Volume Flatpicking Essentials series teaches this

rhythm style and prepares you for each future volume. If you want to learn how to add interesting bass runs and ll licks to your rhythm playing, check out this 96-page book with accompanyi ng CD. This book and CD are available in spiral bound hardcopy form, on CD-Rom, or as a digital download.

Flatpicking Essentials Volume 1:

Rhythm, Bass Runs, and Fill Licks

Are you having trouble learning how to improvise? To many atpickers the art of improvisation is a mystery. In the 5th Volume of the Flatpicking Essentialsseries you will study various exercises that will begin to teach you the process of improvisation through the use of a graduated, step-by-step

method. Through the study and execution of these exercises, you will learn how to free yourself from memorized solos! This Volume also includes “style studies” which examine the contributions of the atpicking legends, such as Doc Watson, Clarence White, Tony Rice, Norman Blake, Dan Crary, Pat Flynn, and others. Learn techniques that helped dene their styles and learn how to apply those techniques to your own solos.

Flatpicking Essentials Volume 5:

Improvisation & Style Studies

Flatpicking Essentials Volume 4:

Understanding the Fingerboard and Moving Up-The-Neck

The second book in the Flatpicking Essentials series teaches you how to arrange solos for vocal tunes by teaching you how to: 1) Find the chord changes by ear. 2) Find the melody by ear. 3) Learn how to arrange a Carter Style solo. 4) Learn how to embellish the Carter Style solo using one or more of the following techniques: bass runs; hammer-ons, pull-offs, slides, & bends; tremelo; double stops; crosspicking; neighbori ng notes; scale runs and ll-licks. Even if you are a beginner you can learn how to create your own interesting solos to any vocal song. You’ll never need tab again! This material will also provide you with the foundation for improvisat ion. This book and CD are available in spiral bound hardcopy form, on CD-Rom, or as a digital download.

Flatpicking Essentials Volume 2:

Learning to Solo—Carter Style and Beyond

Flatpicking Essentials Volume 3:

Flatpicking Fiddle Tunes

Flatpicking and ddle tunes go hand-in-hand. However, in this day and age too many beginning and intermediate level players rely too heavily on tablature when learning ddle tunes. This becomes a problem in the long run because the player eventually reaches a plateau in their progress be-cause they don’t know how to learn new tunes that are not written out in tablature, they do not know how to create their own variations of tunes that they already know, and it becomes very hard to learn how to improvise. Flatpicking Essentials, Volume 3 helps to solve all of those problems. In this volume of the Flatpicking Essentials series you are going to learn valuable information about the structure of ddle tunes and then you are going to use that information to learn how to play ddle tunes by ear, and create your own variations, utilizing the following a series of detailed steps.

Flatpicking Essentials Volume 6:

Improvisation Part II & Advanced Technique

Hardcopy: $24.95 Digital: $19.95

Hardcopy: $29.95 Digital: $24.95

Flatpicking Essentials, Volume 6 is divided into two main sections. The rst section is Part II of our study of improvisation. Volume 5 introduced readers to a step-by-step free-form improv study method that we continue here in Volume 6.

The second section of this book is focused on advanced atpicking technique. We approached this topic by rst having Tim May record “advanced level” improvisations for nineteen different atpicking tunes. Tim selected the tunes and went into the studio with a list of techniques, like the use of triplets, natural and false harmonics, note bending, quoting, alternate tuning, syncopation, twin guitar, minor key tunes, hybrid picking, advanced crosspicking, string skipping, etc. There are a ton of absolutely awesome atpicking arrangements by Tim May in this book, with explanations of

each technique. _{Hardcopy: $29.95 Digital: $24.95}

Flatpicking Essentials Volume 7:

Advanced Rhythm & Chord Studies

Flatpicking Essentials, Volume 7 is a 170 page book, with 67 audio tracks, that will show you how to add texture, variety, and movement to your rhythm accompaniment in the context of playing bluegrass, ddle tune music, folk music, acoustic rock, Western swing, big band swing, and jazz. The best part of this book is that it doesn’t just present you with arrangements to memorize. It teaches you how you can create and execute your own accompaniment arrangement s in a variety of musical styles. Don’t rely on the arrangements of others, learn a straight-forward and gradual approach to designing your own rhythm accompaniment.

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EDITOR'S

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(800) 413-8296

Gospel Tunes

Hello everyone, and welcome to the last issue of our seventeenth year of publication! We are proud to have the extremely talented Carl Jackson on our cover this issue. Carl has recently released a new CD on which he plays solo guitar on twelve Gospel hymns, and uses a different guitar on each cut. In keeping with the theme of Carl’s recording, I asked my contributors if they would submit a Gospel tune, if they felt inclined to do so. Several of them did send in Gospel tunes. So, if you like to play Gospel music, I think you will really enjoy this issue. Even if you don’t play any Gospel music, I think you’ll still nd plenty in this issue to keep you busy. Enjoy!

Workshops in Winfeld, Kansas

Every year at the Walnut Valley Festival in Wineld, Kansas, part of the event is a pre-festival full-day guitar workshop that is held on the Wednesday before the festival ofcially starts on Thursday. This year the event runs from the 19th through the 22nd of September, with the pre-festiva l workshop held on Wednesday, the 18th.

This year Tim May and I will be teaching the pre-festival atpicking guitar workshop. In the morning we are teaching a workshop on improvisation (An Approach to Improvisation on Guitar) and in the afternoon we are teaching a workshop on how to create interesting solos (Building Interesting Melody-Based Solos). If you’d like to nd out more about these workshops, or pre-register for them, go to the Walnut Valley website (http://www.wvfest. com/), click on “Special Events,” then click on “Workshops.”

2014 Jam Cruise

In January of this year I went on the 2013 Jam Cruise that left out of Long Beach, California, and went to Catalina Island and then down to Mexico. It was so much fun, I’m going to do it again next year and I’d love for you to consider joining me! You’ll have four days of workshops and jamming, plus all of the other events that are available on the cruise ship, for a very reasonable price. There are even pre-cruise concerts, workshops, and jams on the Queen Mary in Long Beach the weekend before the cruise ship leav es. To nd out more about all of the events, see the ads that appear in this issue (pages 14 and 59), or visit the cruise2jam website: http://cruise2jam.com/

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Flatpicking Guitar

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Carl Jackson

Carl Jackson could easily be included on the list of the most successful musicians to come out of the bluegrass world. He has worked with so many of the top bluegrass and country music artists that it would probably be easier to list the bluegrass and country stars with whom he hasn’t worked; that would be a shorter list. His professional career now spans almost 50 years and throughout he has been one of those “triple threat” guys who can sing, can write, and can play just about any stringed instrument he puts his hands on. He started touring as a member of Jim & Jesse’s Virginia Boys when he was only 14 and just before turning 19 hit the road with Glen Campbell for twelve years. He has won two Grammy awards, multiple IBMA and Dove awards, has charted singles under his own name on the Billboard Country Top 100, and has had literally hundreds of his songs recorded, with sales approaching fty million units. Not bad for a banjo picker from Mississippi! Although Carl started out his musical life as a banjo player, he has probably spent just as much time during his career playing

guitar fans. The new CD features Carl playing solo guitar on old familiar hymns, using a different acoustic guitar on each cut. Although this is a ngerstyle project, much of what Carl plays can be adapted to the atpick or hybrid styles and it is such beautiful guitar music that anyone who is a fan of the acoustic guitar will love this recording. We’ve wanted to feature Carl in Flatpicking Guitar Magazine for years and this new CD gave us the perfect opportunity. Born in 1953, Carl Jackson grew up in Louisville, Mississippi. His father, Lee, loved bluegrass music and performed with Carl’s two uncles, Pete and Sock, in a band called the Country Partners. Carl was fascinated with the banjo and by the age of eight he was learning how to play that instrument. Carl remembers, “Uncle Sock was taking banjo lessons from Bud Rose, a member of Carl Sauceman’s Green Valley Boys, and I decided to go along with him. Bud later gave me a few lessons and then, after he’d moved back to East Tennessee, he’d send me a tape now and then.” Carl started learning to play in the styles of

popular bluegrass players like Earl Scruggs, Don Reno, and Allen Shelton.

Not long after he started learning how to play the banjo, Carl was invited up on stage to perform with his father’s band. His father played the guitar and sung lead and baritone vocals. Carl describes his father as a ne rhythm player who could also play Maybelle Carter style leads. When Carl joined the band, Uncle Sock played the bass and sang some lead vocals, Uncle Pete played the mandolin and sang tenor, and Carl played the banjo and learned to sing harmony as well.

When Carl was about 12 or 13 years old Jim & Jesse McReynolds were playing a show at a local schoolhouse and Carl’s father took him to the show. Afterwards, they went backstage, met the McReynolds brothers, and Carl played some banjo for them. Jim & Jesse said that they liked what they heard and so Carl’s dad said, “If you are ever needing a banjo player, I’d love it if you would consider using Carl.” Not a lot of time past before the McReynolds brothers called Lee Jackson and asked if

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been around them enough to trust them. I could not have landed in a better position.” By the time Carl joined Jim & Jesse he had learned how to play in the style of Earl Scruggs and Allen Shelton and was just starting to explore the chromatic style of Bill Keith. On some of the tunes, like “Border Ride,” “Standing On The Mountain” and “Feudin’ Banjos,” Carl played the solo that he had learned from Jim & Jesse recordings. On other songs he stepped out and played his own arrangements. Carl said, “They let me be myself. I tried not to overplay.”

By the time Carl started playing with Jim & Jesse, he had also become interested in learning how to play the guitar in the style of Chet Atkins and Jerry Reed. He bought a nylon-string Martin guitar and started learning how to play ngerstyle. Carl said, “I spent hours on Jim & Jesse’s bus learning Chet and Jerry licks.” When asked how he juggled being on the road with a touring band and going to high school, Carl said, “The principal at my high school told me that if I made good grades I didn’t have to come to school all the time. He said I could show up when I wanted.”

In the summer months Carl would live at Jim & Jesse’s home near Nashville since the majority of their shows were during the summer festival season. By the time Carl finished high school he felt like it was time to move on from his work with Jim & Jesse. Although he left the band, he always maintained a great relationship with the McReynolds brothers and gives them tremendous credit for his success.

During his years traveling the roads with Jim & Jesse, Carl had the opportunity to play at festivals which also featured bluegrass legends like Ralph Stanley, the Osborne Brothers, Bill Monroe, and many more. He had actually met Earl Scruggs even before he was with Jim & Jesse. When he was still playing with his father’s band, they opened for a Flatt & Scruggs show in Jackson, Mississippi. Regarding having the opportunity to play on stage with Jim & Jesse and meet all of his bluegrass heroes when he was a teenager, Carl said, “I felt blessed to be with those folks. They were good guys and it was a lot of fun.” At one festival Sonny Osborne walked up to Carl with a small Master lock in his hand and put the lock on one of the brackets on Carl’s banjo. Carl said, “That lock is still on that banjo to this day!”

After Carl left Jim & Jesse he played the guitar for the Sullivan Family band for

years Carl’s junior, was also in the band. Marty grew up in the town of Philadelphia, Mississippi, which is about 25 miles from Carl’s home in Louisville. The rst time he met Marty, Carl and his father were at a jam session with the Page family in Philadelphia. He said, “Marty showed up at the house and he didn’t know a whole lot at that point, but he was like a sponge. After that night, I (but especially my Dad) spent many hours with him and it wasn’t long before he could play more on the mandolin than I could. It burned in him. I love his mandolin and guitar playing and I think he deserves every bit of the success that he’s had. We are still very close.”

When he was with the Sullivan Family, Carl was still playing fingerstyle guitar and wearing his banjo thumb pick and ngerpicks. To play single-note lead lines he would simply use the thumb pick and index nger. Carl left the Sullivan Family when he decided to move to Ohio and form a band with picking buddies Keith Whitley, Jimmy Gaudreau, and Bill Rawlins. They were going to call themselves The Country Store. The band performed two trial gigs, but then another opportunity caused Carl to leave that band before it really got started.

Given the circumstance, the other guys in the band understood why Carl chose to leave. When Carl left, multi-instrumentalist Jimmy Arnold lled his spot.

While growing up, Carl was a huge fan of Glen Campbell. Campbell had a popular television show called The Glen Campbell Goodtime Hour and Carl had learned how to play many of his tunes. In fact, one of the songs that Carl sang in the Jim & Jesse show was the Glen Campbell hit “Gentle on My Mind,” which was written by John Hartford. Carl said, “Some of the kids at school signed my yearbook, ‘We’ll see you on the Glen Campbell show some day!’”

In the summer of 1972, Country Store band mates, Carl and Keith Whitley, went to the Ohio State Fair to see Campbell perform. At the time Larry McNeely was playing banjo in Campbell’s band and as Carl and Keith were walking to their car after the show, Carl saw McNeely standing alone backstage and took the opportunity to introduce himself saying, “Hello! My name is Carl Jackson and I love your playing.” To Carl’s surprise, Larry said, “Carl Jackson!!! I love your playing too!” and invited Carl to come back the next day and pick. The following afternoon, after Carl and Larry

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had a chance to pick together, Larry said, “Do you play the guitar, too?” Carl responded that he did and Larry said, “I’m thinking of leaving the band, how’d you like to have my job?” Only a few minutes later, Larry introduced Carl to one of his heroes… Glen Campbell. Campbell asked Carl to play a few tunes on the banjo, like “Foggy Moutain Breakdown,” “Rocky Top,” and particularly, “Little Rock Getaway.” He then asked for Carl to play some guitar and even wanted to know if he could play Jerry Reed’s intricate, “The Claw.” He could, and did. Maybe that sealed the deal because the next words out of Glen’s mouth were, “How much do you want to make?” to which Carl jokingly replied, “A million dollars!”

Carl joined the band and, with no rehearsal, performed with them in Nebraska at the State Fair only a short time after their rst meeting in Ohio. The band then left almost immediately for a tour in Australia. Carl moved to California and stayed in Glen Campbell’s band for twelve years (1972 to 1984).

During a typical Glen Campbell performance Carl played guitar, banjo, mandolin, and ddle. He also sang tenor vocals. Although Carl said that he usually played guitar for 65 to 70 percent of the show, Glen would always feature his banjo playing in every show. In fact, the marquee at Glen’s shows included the tag line “featuring Carl Jackson.” Carl would play three or four banjo numbers in every

Glen Campbell’s Good Time Hour television show had gone off the air just a few months prior to Carl joining the band, the prediction of Carl’s high school classmates wasn’t totally off the mark!

During his years with Glen Campbell, Carl had the opportunity to travel around the world playing music next to one of the most popular performers of the day. He appeared on numerous television and radio programs and had the opportunity to meet a long list of celebrities, including John Wayne, Ginger Rogers, Sonny and Cher, Bob Hope, Burt Reynolds, the Smothers brothers, and many more. During those days he also met Emmylou Harris. The two became friends and have worked together many times over the years. Although Carl rst asked Glen if he could have a million dollars for the job, he now says, “I wouldn’t take a million dollars in trade for the experiences I had with, and because of, Glen.”

Those same Campbell years also saw Carl writing songs and recording solo projects. He recorded two albums for Capitol Records (Carl Jackson: Banjo Player and Old Friends) and he recorded three albums for Sugar Hill Records ( Banjo Man: A Tribute to Earl Scruggs, Song of the South, and Banjo Hits). Between traveling the world with Glen Campbell and recording solo projects, Carl kept quite busy and was achieving great success, especially for a musician still in his twenties.

When asked about Glen Campbell’s

than bluegrass. He was really into Django Reinhardt. When we appeared on the Midnight Special with George Benson, I think Glen really surprised George with how well he could play. I learned a lot about guitar playing from Glen. There are certain licks that I play that I got directly from him. His solos on songs like ‘MacArthur Park’ and ‘For Once In My Life’ were phenomenal.” Carl said that when he rst joined Campbell’s band, Glen was playing about 50 percent of the time on a nylon-string guitar and the other 50 percent of the time on a steel-string acoustic. Later Glen also started playing electric 6-string and 12-string guitars.

Carl was a big part of the Glen Campbell show. He played twin guitar parts with Glen on songs like “Bonaparte’s Retreat”; he played the guitar intros and traded solos with Glen on songs like “Wichita Lineman” and “Try A Little Kindness”; he played the banjo on tunes like “William Tell Overture” and “Classical Gas”; and much more. Throughout his 12 years as a member of Glen Campbell’s band, Carl continued to play the guitar with his ngers. It wasn’t until after he left the band that he started getting interested in atpicking. He said, “I had heard that Jerry Reed had gone to using a atpick and so that got me interested in it. I always loved bluegrass, but had never used a atpick on the guitar. But I always like what Glen did with a pick and what guys like Tony Rice were doing in bluegrass. Now I love playing with a atpick!”

Today Carl plays atpick-style guitar when he performs with the Last Minute Mountain Boys, a group of Nashville players who get together to perform at Nashville’s Station Inn on each of the middle Mondays of every month. Members of this band include Carl Jackson (guitar, banjo and vocal), Larry Cordle (guitar and vocals), Mike Bub or Dennis Crouch (bass), Aubrey Haynie (ddle and mandolin), Larry Atamanuik (drums), Val Storey (vocals), Catherine Marx (keyboard), and Doug Jernigan (pedal steel guitar). The band plays both cover and original tunes in the styles of bluegrass and traditional country.

When Carl was young and traveling with Jim & Jesse, he remembers hearing atpickers like Doc Watson, Norman Blake, Dan Crary, and a young Tony Rice and loving what they were doing on the guitar. But, he said that when he was younger he Carl Jackson performing with Jim & Jesse in 1970

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that while I could get all of the notes with my ngers, the notes just don’t sound the same. There are tones and textures that you can get with the atpick that you can’t get with your ngers or ngerpicks.” Regarding his choice of playing with his bare ngers, or ngerpicks, or a atpick, Carl said that it all depends on what sound best ts the song. Carl left Glen Campbell’s band in 1984 because he got his own record deal on Columbia. He said that he had aspirations of being a touring artist with his own band and he did achieve some success along those lines. Between 1984 and 1985, he charted a couple of singles on the Billboard country music charts, including the old Lefty Frizzell tune “She’s Gone, Gone, Gone.” He started touring and he appeared on a few television shows, like Nashville Now.

Unfortunately, while Carl wanted to continue playing more traditional styles of music, his record label was pushing him to go more in the commercial direction. He said, “I wasn’t happy with that and I didn’t want to do it. I have always believed that an artist should do what they do and let the people come to them.” Although it looked as if Carl’s career recording and performing under his own name wasn’t going to gain solid footing, the “songwriting door swung open.”

Shortly after Carl had joined Glen Campbell’s band and moved to Los Angeles he wrote a song called “Letter to Home.” He wrote the song for his mother, father, and sister. Carl said, “After I moved to Los Angeles I wasn’t real good about writing letters back home to Mom and Dad and my Mom gave me a lot of grief about that. So, I got this idea that I’d try to make it up to them in a song.” Glen Campbell recorded the song in 1984 and it became a top ten hit. Carl then thought, “This is what I need to be doing.” From that point forward he started focusing more on writing and producing than he did recording and performing with his own band.

At rst Carl’s main focus was songwriting. He signed with Polygram Publishing in the late 1980s and started making song demos. Musicians and labels in Nashville were so impressed with the quality of Carl’s demos that people started asking Carl to produce. Carl has been extremely successful as a songwriter. His songs have been recorded by artists such as Glen Campbell (“Letter to Home”), Wild Rose (“Breaking New Ground”), Pam Tillis (“Put Yourself In My Place”), Garth Brooks (“Against The

Dove”), Diamond Rio (“Close To The Edge”), Patty Loveless (“You Don’t Know How Lucky You Are”), Steve Wariner (“The Same Mistake Again”), Vince Gill (“Real Lady’s Man”), Daron Norwood (“My Girl Friday”), and Rhonda Vincent (“I’m Not Over You”). Additional artists who have recorded Carl’s tunes include: Mike Snider, The Seldom Scene, Charly McLain, Nancy Sinatra, The Chuck Wagon Gang, Bobbie Cryner, The Lewis Family, Keith Stegall, Tony Rice, Red Steagal, Doyle Lawson & Quicksilver, Ricky Skaggs, The Whites, lllrd Tyme Out, The Rarely Herd, Alecia Nugent, Continental Divide, The McCarters, The Country Gentlemen, Mark Newton, Johnny Paycheck, Rebecca Lynn Howard, Mel Tillis, Bradley Walker, Jim & Jesse, Larry Cordle & Lonesome Standard Time, Jon Randall, Ricky Lynn Gregg, Mountain Heart, Terri Clark, The Oak Ridge Boys, Brad Paisley, Marty Raybon, Joe Dife, and The Nitty Gritty Dirt Band. Carl’s work can even be heard at baseball and football games as he has penned theme songs and jingles for the California Angels (“California 9 to 5”, “Dreams,” and “Something To Shout About”) and the Ole Miss Rebels (“‘Neath The Oaks In The Grove”).

Carl’s “Little Mountain Church House” was voted the 1990 International Bluegrass Music Association “Song of the Year,” and

a more recent version by George Hamilton IV was a 2005 Dove Award nominee for “Bluegrass Song of the Year.”

On February 25th, 1992, for his album with John Starling entitled Spring Training, Carl was awarded his rst Grammy. A few months later he received a Dove Award for southern gospel “Song of the Year,” “Where Shadows Never Fall”, recorded by Glen Campbell. The beautiful ballad, “No Future In The Past,” recorded by male vocalist of the year Vince Gill, was a huge songwriting success for Carl and was named the #1 “Country Song of the Year” for 1993 by Radio & Records Magazine. In 1998, after hearing Carl’s demo, Garth Brooks decided to include the Jackson spiritual entitled “Fit For A King” in his Sevens project. A poll conducted by Bluegrass Unlimi ted Magazine several years ago found Carl as having written eight of the top 200 bluegrass songs of all time.

In the producing world, Carl has had the “great pleasure” to work with a wide array of artists from Bering Strait to Jim & Jesse to Bobbie Cryner—whose rst effort on Sony Records received the honor of “Best Country Album” of 1993 in USA Today. Carl has more recently produced projects for Shawn King, Jennifer Wayne, Bradley Walker (2007 IBMA “Male Vocalist of the Year”) and Alecia Nugent, as well as hot

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new country sweethearts, Joey + Rory. He is also the producer of the critically acclaimed tribute to the late Gram Parsons called The Gram Parsons Notebook , available on Shell Point Records.

In 2003 Jackson produced Livin’, Lovin’, Losin’: Songs of the Louvin Brothers – a tribute to Ira and Charlie Louvin. The CD is a collection of duets featuring such artists as James Taylor, Alison Krauss, Dolly Parton, Johnny Cash, Emmylou Harris, Vince Gill, Merle Haggard, Linda Ronstadt, Patty Loveless, Marty Stuart, Del McCoury, Pam Tillis, Rhonda Vincent, and others. In addition to producing the record, Carl sang duets with Merle Haggard and Linda Ronstadt. He also played guitar, mandolin, banjo, and percussion. At the 2004 Grammy Awards, Livin’, Lovi n’, Losi n’ won the Grammy Award for “Best Country Album” and James Taylor and Alison Krauss won the Grammy Award for “Best Country Collaboration with Vocals” for their duet on “How’s the World Treating You.” In 2004, the album also won the International Bluegrass Music Association (IBMA) Award for the “Recorded Event of the Year.”

In October of 2011, another project that Carl produced was released to rave reviews. This project, Mark Twain: Words & Music tells the life story of Samuel Clemens and contains musical performances by Emmylou Harris, Doyle Lawson & Quicksilver, Rhonda Vincent, Bradley Walker, The Church Sisters, Sheryl Crow, Brad Paisley,

narration by Garrison Keillor, along with Jimmy Buffet, as the voice of Huck Finn, and non-other than Clint Eastwood, as the legendary Mark Twain. Carl even performs a song himself, entitled “Safe Water,” co-written with Jerry Salley.

If you are not yet impressed with the long list of Carl’s work, just wait, there is more! Carl sang, and produced all the harmony vocals—save one song—on Merle Haggard’s release, The Bluegrass Sessions. On that recording Alison Krauss joins Carl to sing “Mama’s Hungry Eyes”. Additionally, Carl lends his talents to the critically acclaimed Brad Paisley project, This Is Country Music, singing harmony on the title track, as well as “A Man Don’t Have To Die”, along with Sonya Isaacs. That same project also features Carl, along with Marty Stuart and Sheryl Crow, on the bluegrass gospel classic, “Life’s Railway To Heaven,” not only singing some high lonesome tenor, but also soloing on ve string banjo. And if you want to hear Carl play some hot guitar, you can listen to him pick with Steve Wariner, Mark O’Conner and Jimmy Olander on “Hap Towne Breakdowne” on Wariner’s instrumental album, No More Mr. Nice Guy.

Carl’s latest project, Grace Notes, released in early 2013, is a solo guitar recording of Carl playing a collection of old hymns on twelve different acoustic guitars. Classics such as “Wayfaring Stranger,” “The Old Rugged Cross,” and “When They Ring

picks). Carl’s father thought it would be a good idea to play each song on a different guitar from both Carl’s and his father’s collections. Carl’s father had owned a music store from 1976 through about 1988 and had always done instrument repair on the side. Over the years both he and Carl have built up an impressive guitar collection. The recording includes the story behind each instrument in Carl’s own words. The new CD was inspired by tunes that Carl like to play while sitting around at his parents’ home and picking for his own enjoyment.

The new recording of hymns is something that Carl’s parents had always wanted him to record. With all of the other projects lling Carl’s time, this one took about ten years to complete because it was “mostly on the back burner.” Carl said, “I nally got it done with a nudge from my Dad. He told me, ‘You’ve got to do that guitar album.’ I nally nished it, but unfortunately Mom passed before I got it done.”

Guitar enthusiasts will be interested in the guitars that Carl selected to use on this project, so here is a list: 1957 Martin D-28, 1931 Harmony parlor guitar, 1932 National Duolian, 2012 Recording King, another 1957 Martin D-28, 1961 Martin D-28, mid-1800s Martin parlor guitar, 1940 Martin D-18, 1929 Martin 00-21, 1968 Ovation Glen Campbell Deluxe Balladeer, 2012 Long Custom Dreadnought, and a 1943 Martin D-28 Herringbone. A booklet accompanies the CD with words from Carl about each guitar and Carl includes spoken word stories about each guitar on the CD.

With fty years in the music business, Carl has gained a lot of experience in all aspects of music. When asked what advice he would give to musicians who are just starting out, Carl said, “I would give them the same advice that my Dad gave me when I was young. He stressed that I should never play faster than I can play cleanly. He told me that if I would learn to play it clean, then the speed would come. He also told me to always be the best I could be and he said that if I wasn’t going to do it right, I shouldn’t do it at all. That made sense to me even as a kid and I still follow that advice today when I’m writing songs. I won’t settle until I get it right. Mark Twain said that the difference between the right word and the almost right word is like the difference between lightning and a lightning bug.”

Adding to his father’s advice, Carl said, Carl Jackson with Tony Rice

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learning the right technique, they will be better off in the long run. I would rather hear someone play nice and clean at a moderate tempo then try to play at a faster tempo and fall all over it.” He also recommends that students listen to everything they can and learn from everyone, but don’t copy them. He said, “You are never going to sound exactly like someone else. Everyone has subtle differences. You can learn from someone else, but also put your own thing in along with what you learn. Then it will become your style.” On December 26th, 2011 the state of Mississippi honored Carl with an ofcial Country Music Trail Marker in his hometown of Louisville. The marker, which highlights Jackson’s career, is located near the historic Strand Theatre. Carl performs his annual Home for Christmas concert every December in the very building where he used to see movies as a kid, not to mention being born on the third oor of the building, which housed a clinic back in 1953.

During his sixty years on this planet Carl Jackson, a Mississippi Music Hall of Fame member and 2012 Governor’s Award recipient, has been able to steadily and consistently perform at the highest levels of achievement. His dad told him that he should do it right and he has denitely followed that advice. At a time in life when many careers start to slow, Carl continues to write, sing, pick, and produce at the top of his game. We wish him continued success and we thank him for sitting down by himself in front of a microphone with twelve ne acoustic guitars and recording old hymns. Listening to his new CD will remind us all why we fell in love with the sound of the acoustic guitar.

The Flatpicker’s Guide to

Old-Time Music

by Tim May & Dan Miller

www.atpickingmercantile.com

800-413-8296

Although this new book by Tim May and Dan Miller will teach

you how to play 11 old time ddle tunes, with variations and

suggested rhythm ideas, the extra added value in this 160-page

book (with 2 audio CDs), is the 50 pages of focused instruction

on old-time rhythm playing. This material will not only help

anyone learning how to play in an old-time music ensemble, it

will help any atpicking guitar player who plays with a small

ensemble (duo or trio that does not include a bass) learn how to

play solid rhythm with an interesting array of bass note selections,

bass walks, and bass runs. This is a “must have” addition to any

atpicker’s library!

(15)

Amazing Grace

Audio CD

Track 3 Arranged by Carl Jackson

Transcribed by Alois Kleewein

G G7 D G D G B D 0 5 0 0 0 5 0 0 5 5 7 6 C 11 G D 8 0 0 0 0 7 = 160 9 7 5 0 0 6 9 0 6 9 9 7 9 7 G G 5 5 5 5 0 5 0 5 0 3 5 5 4 0 3 0 5 0 5 0 5 0 0 0 5 0 0 0 5 9 7 9 7 9 9 9 9 7 5 7 9 12 0 10 0 11 10 12 12 12 16 G 0 12 12 0 12 0 12 12 12 12 10 G7 C 10 10 12 12 12 10 0 12 0 12 12 12 10 10 8 9 0 8 21 G Em7 10 0 8 7 9 7 0 0 7 0 0 2 5 0 5 0 3 5 0 5 9 7 5

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Amazing Grace (con’t)

26 D C G 0 7 7 9 0 7 7 9 7 5 0 5 5 5 5 5 5 5 5 5 5 5 5 4 0 3 0 5 3 0 5

The fourth book in the Flatpicking Essentials

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With this book and CD you will learn

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harmonized scales, oating licks, and more.

If you’ve ever sat and watched a professional

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(17)

(18)

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0 2 0 0 1 2 3

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0 H.O.

Bluegrass Rhythm Guitar

by Joe Carr

“Munde’s Child”

Here is an arrangement of an original banjo piece by 5-string master Alan Munde. “Munde’s Child” appeared originally on the 1986 album Alan Munde - In The Tradition (on the Ridge Runner label, RRR0035). The title is a clever pun on the old English nursery rhyme that begins with the phrase “Monday’s child is fair of face.” The tune was recorded in the Waylon Jennings studio at South Plains College on Oct. 31, 1985. Ed Marsh was the engineer. It was included in 1994 on the compilation CD Alan Munde: Blue Ridge Express on the Rounder label. It is currently available on iTunes or directly from Alan.

Alan remembers:

“You [Joe Carr] used the school’s 1951 Martin D-18 and I used my Stelling Staghorn. I wrote it while I was living in California, so that would have to be around

1974. Other than Slim (Richey), you were probably the only one I knew who could make all the holts and grips to play along.” “It seems to me, you and I went into to the studio and cut it as a complete take with no overdubs. We may have tried a few times, but did get a complete as-you-hear-it take. I think it sounds pretty damn good and holds up well after all these years.”

I always enjoyed learning Alan’s compositions maybe because he uses such a rich harmonic pallet. Certainly, this tune gave me a chance to play many of the chord types I had learned over the years. It is a jazz waltz and it certainly does have all the holts and grips! “Holts and grips,” by the way, was a humorous way Alan and I referred to guitar chords in a mock country boy manner. The reference may have originally come from country comedian and guitarist George Gobel.

The album Blue Ridge Express has 20 tunes and is a great bargain at $15 directly from Alan. Included are many bluegrass standards as well as six Munde compositions including the favorite “Peaches and Cream.” A number of classic, hard-to-find instrumentals (including “Bluegrass Express,” “Remington Ride.” and “Sockeye”) are here played by a variety of great musicians including David Grier, Sam Bush, and others. The CD and banjo tab is available from almundesbanjocollege. com. If nothing else, buy “Munde’s Child” for 99 cents on iTunes! You can even hear a little sample for free.

[Editor’s Note: We were unable to get a recording of this tune for our audio companion. If you want to hear the tune, please go to iTunes and listen to the short clip, or download the tune as Joe suggests.]

Josh

Andy

Chris

Williams, Falco & Eldridge

L i v e a t t h e S t a t i o n I n n

F l a t p i c k i n g G u i t a r M a g a z i n e & S i m p l e F o l k P r o d u c t i o n s P r e s e n t :

“ G u i t a r m a g e d d o n ”

In this one-hour DVD Flatpicking Guitar Magazine and SimpleFolk Productions present three of today's top young flatpicking guitarists performing together in a live concert setting at the “World Famous” Station Inn in Nashville, Tennessee. Josh Williams, Andy Falco, and Chris Eldridge perform in a trio setting, as duo pairs, as solo performers, and with a full bluegrass band (with guests Cody Kilby and Mike Bub). Guitar players will appreciate the left and right hand close-ups that are prevalent throughout this DVD.

(19)

Munde’s Child

Arranged by Joe Carr

T

A

B

3 5 5 5 3 5 5 5 Am11 3 5 5 5 3 5 5 5 3 5 4 5 3 5 4 5 D7 3 5 4 5 3 5 4 5 3 4 4 3 3 4 4 3 7 7 7 7 7 7 7 7 Bm7 7 8 7 8 7 8 7 8 Cdim 7 7 5 7 0 7 7 5 7 0 Em9 9 3 4 3 4 3 4 3 4 G dim 5 5 5 5 5 5 5 5 4 5 4 5 4 5 4 5 3 4 4 3 3 4 4 3 5 6 5 6 5 6 5 6 7 7 7 7 7 7 7 7 3 4 3 4 3 4 3 4 5 5 5 5 5 5 5 5 Am7 3 5 4 5 D7 7 9 9 9 7 9 8 8 F 5 7 7 7 Bm11 5 7 6 6 E7b5 3 5 5 5 Am11 3 5 4 4 D7b5 2 4 3 3 2 4 3 3 2 2 3 4 2 2 2 3 4 2 2 2 3 4 4 2 3 4 4 2 2 3 4 4 2 3 4 4 1 3 2 3 3 2 3 1 3 2 3 3 2 3 6 3 3 3 5 3 3 3 5 GM7 Am7 D7b9 GM7 B dim Bm7 G dim 16 C m11 7b5 24 B m C 7b5 F B M7 _D M7

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Munde’s Child (con’t)

31 6 3 3 3 5 3 3 3 5 3 3 4 5 3 3 3 4 5 3 3 3 4 5 3 6 5 6 5 5 4 5 4 G 3 3 4 5 3 G 5 5 5 5 Am7 3 5 4 4 D7b5 3 4 4 2 2

granger publications • box 270115 • vadnais heights, mn 55127

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4 3 5 4 3 5 4 D7b5 4 3 5 4 3 5 4 3 5 5 5 3 5 5 5 3 5 5 5 3 5 5 5 5 3 5 4 D7 D.S. al Coda 5 3 5 4 3 5 4 Am11 38 G dim F dim GM7b5

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accompanies this issue of the magazine. If you buy the course, it will come in the video rather than audio format. I’ve created it in such a way that you will be able to really punch it, so you should turn a few heads after you have had enough time to really master it.

As always, keep your pick directions alternating and your powder dry.

You’ll see my ad for this course in the back of this issues and feel free to contact me if you have any questions. folks@ musicians-workshop.com or 512 328 5055.

Gcdgcdgcdgcd

gcdgcdgcdgcd

Beginner’s Page

by Dan Huckabee

www.atpickingmercantile.com 800-413-8296

Cryin’ Holy

“Cryin’ Holy” is a certied bluegrass standard that has been recorded by many of the legendary bluegrass bands. I’ve always favored the Ricky Scaggs mandolin break from the New South album, so, I’ve borrowed just a touch of this guitar solo from Ricky’s mandolin solo. This solo is one of the tunes from my latest instructional DVD/Book called: Gospel Favorites For Bl ueg ras s Guit ar. The course is also available for download, and if you don’t want the whole course, you can choose any individual song, just like iTunes.

This solo is all in rst position and is easy to learn when you read the tab and follow the slow and fast versions from the CD that

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Cryin’ Holy

Audio CD

Tracks 4 & 5

Arranged by Dan Huckabee

&

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Capo 4th Fret S H S H H H S H

(23)

by

Steve Kaufman

K a u f m a n ’ s

Corner

FGM Records Presents:

Andy Falco

Sentenced to Life With the Blues

Call 800-413-8296 to Order

This is a long awaited recording from one of the top young atpickers i n N a s h v i l l e , t h e I n f a m o u s Stringduster’s Andy Falco, and includes some of Nashville’s most outstanding bluegrass performers in support, including Josh Williams, Cody Kilby, Adam Steffey, Luke Bulla, Jason Carter, Andy Hall, Noam Pikelney, Jim Van Cleve, Andy Leftwich, Alecia Nugent, Rob Ickes, Tim Dishman, and more.

The Old Gospel Ship

Hi friends, and welcome my corner of the magazine. Since this is a gospel issue, I thought I would snag two birds with one stone. This tune – “The Old Gospel Ship” – is a great beginner piece that I used to use when I was teaching private lessons. If the folks didn’t want to work on a gospel song, I would teach it as the theme to the movie Dillinger. (The difference being that the Dillinger version had an eight-measure B part that went to F: F/F/C/C/F/F/G/G7. Maybe another time we’ll look at that add in.)

I wrote out two versions, one for my beginners and the second for those who want more crosspicking stuff. The first version is played mostly out of two chord shapes: the full C chord and the “Wildwood Flower” C chord. The one when you hold the 2nd string, 1st fret, rst nger C (see the rst measure) and the 3rd string 2nd fret second nger A and allow the 1st string to ring open (See measure 2). Hammer-on to the A in measure 2 and repeat throughout the song. There are lots of hammer-ons in this arrangement. One thing to keep in mind is that in the key of C, G, and sometimes A, the 2nd fret when fretted, is almost always a legal hammer-on. In some of the arrangements that you already know, change the solid 2nd fret melody or back-up note to

a 2nd fret hammer-on fret note and see how it ts. I don’t think you’ll have any trouble on this solo. Have fun.

The second version is a little tougher but you knew that was coming. This one kicks off with a great intro lick starting on the + of 1 upbeat and it’s a hammer-on to boot. Count out 1+2+3+4+ 1 then on the + of 1 (up-swing) start the run with a hammer-on and go!

Next you have to get the rhythm of the crosspicking:

Da da Da da Da da DA. Da da Da da Da da DA.

Be sure to use alternate picking all the way through the rolls:

DUDUDU D DUDUDU D etc.

You will also notice in some measures the last notes are eighth notes so keep that pick alternating and you will smooth this puppy out quickly.

Measure 7 is a little tricky, with a pull-off and hammer-on in the middle of the eighth

notes. Pick and hit all the notes until the timing is felt and heard better. Then apply the pull-off and hammer-on and keep the picking in the proper directions. Watch out and use the arrows for pick direction.

Measure 14: You will nd a sixteenth note pull off. This pull-off (two notes) is your down-swing or the rst eighth note’s time. The C note on the 5th string has to be your up-swing. The pull-off is extremely fast and crisp and only gets a half-beat. Fun stuff – have a great time with this tune and let me know how it treats you.

See you at Kamp in June! Bye for now,

Steve Kaufman www.atpik.com www.palacetheater.com

(24)

Old Gospel Ship

Melody

Audio CD Audio CD Track 7

Track 7 _{Arranged by Steve Kaufman}_{Arranged by Steve Kaufman}

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(25)

(26)

Taking It To The Next Level:

“Precious Lord” Accompaniment

by John Carlini

“The most important thing I look for in “The most important thing I look for in a musician is whether he knows how to a musician is whether he knows how to listen.”

listen.” —

— Duke Duke EllingtonEllington When Dan

When Dan Miller Miller told told me tme that thihat this issue s issue ofof FGM was focused on

FGM was focused on gospel music, I calledgospel music, I called my friend, Bill Robinson, and we decided to my friend, Bill Robinson, and we decided to record something appropriate. That is how record something appropriate. That is how this version of “Precious Lord” came to be. this version of “Precious Lord” came to be.

My

My job job here here was was to to accompany. accompany. ToTo accompany a vocalist requires listening on accompany a vocalist requires listening on the highest level and playing chords and the highest level and playing chords and linear material that are both complimentary linear material that are both complimentary and unobtrusive. We each know the piece, and unobtrusive. We each know the piece, and we had a plan for an arrangement, and we had a plan for an arrangement, but from there it was pure listening and but from there it was pure listening and reacting. When you are fortunate enough reacting. When you are fortunate enough to have a Bill

to have a Bill Robinson to accompany, andRobinson to accompany, and

when you listen to each other the result is when you listen to each other the result is musical synergy.

musical synergy. The

The sheet sheet music music here here makes makes this this availableavailable for you to play with another guitarist. I for you to play with another guitarist. I transcribed the melody part as

transcribed the melody part as Bill phrasedBill phrased it. That is the reason for all those eighth note it. That is the reason for all those eighth note triplets. Though it is in 4/4 time, each be triplets. Though it is in 4/4 time, each beat isat is sub-divided into 3 parts. Count, “One, and, sub-divided into 3 parts. Count, “One, and, ah, T

ah, Two, and, ah, Three, and, ah”wo, and, ah, Three, and, ah”. There will. There will be times when it does not exactly sync with be times when it does not exactly sync with Bill’s phrasing, and that’s OK. Ultimately, Bill’s phrasing, and that’s OK. Ultimately, his phrasing is the way to go. The music is his phrasing is the way to go. The music is a close approximation. If you try playing a close approximation. If you try playing along you will experience that.

along you will experience that. The

The chord chord part part just just happened as happened as I I listenedlistened to Bill’s voice.

to Bill’s voice. Again, it is a Again, it is a guide. Feel freeguide. Feel free to personally express the part.

to personally express the part.

I

I must must confess confess that that I I played played thisthis ngerstyle!

ngerstyle! I could I could have used have used a atpicka atpick and the part can certainly be played with a and the part can certainly be played with a pick. It’s just that once we got started it felt pick. It’s just that once we got started it felt more natural to use my ngers.

more natural to use my ngers. I ho

I hope yope you enju enjoy loy listening istening to ato and plnd playing,aying, “Precious Lord”.

“Precious Lord”.

Please visit John’s web site (www. Please visit John’s web site (www. johncarlini.com)

johncarlini.com) to to sign sign up up for for the the latestlatest performan

performance ce and and teaching teaching info info and and acousticacoustic music news. John is now giving live music news. John is now giving live one-on-one lessons on guitar and 5-string on-one lessons on guitar and 5-string banjo using Skype technology. More info is banjo using Skype technology. More info is available on the web site.

available on the web site.

Bluegrass • Celtic • Jazz • Basics • Blues • Rhythm & Chords

T

_{exas-Style Fiddle Tunes • Classical & Much}

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43 guitar solos of 43 guitar solos of Favor-ite Bluegrass, Old-Time, ite Bluegrass, Old-Time,

and Gospel Songs! and Gospel Songs! Aimed at begi

Aimed at beginning andnning and intermediate guitarists, intermediate guitarists,

this book is packed this book is packed

with songs, solos, and with songs, solos, and techniques that every techniques that every guitar player should know. guitar player should know. Carter style solos, back up guitar parts, Carter style solos, back up guitar parts,

crosspicking solos, harmony parts, ddle tunes for gui crosspicking solos, harmony parts, ddle tunes for gui --tar, & much more! Solo list and complete details online. tar, & much more! Solo list and complete details online.

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Guitar Solos

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Precious Lord

Arranged by John Carlini and Bill Robinson Audio CD Track 9 T A B T A B 3 2 3 Slow

q = 60

3 1 3 1 10 7 8 10 7 8 10 8 10 F/C B 3 1 4 3 1 10 7 8 10 7 8 8 7 8 F/C F7/C 3 1 1 7 6 6 7 6 6 7 6 6 8 B 7 3 7 6 6 7 6 6 7 6 7 3 4 3 1 1 3 10 7 8 10 7 8 10 7 8 F/C 1 5 5 6 7 5 6 7 5 6 7 5 Dm 3 4 3 1 4 3 3 4 3 3 4 3 3 G7 3 5 6 3 2 3 3 2 3 3 2 3 C7 8 10 8 2 3 1 2 3 1 2 3 1 3 F C 3 9 8 6 4 3 1 5 3 5 5 3 5 6 3 5 F/A Faug 3 3 1 1 7 6 6 7 6 6 7 6 6 8 B 3 1 1 3 7 6 6 7 6 6 7 6 7 Bdim 3 1 6 5 10 7 8 10 7 8 6 7 5 F/C Dm 3 5 3 4 3 3 4 3 3 3 2 3 G7 C7 1 1 2 1 1 2 1 1 7 6 6 6 F7 B 7 6 5 3 5 6 5 3 5 10 8 8 F/A C7add4omit 3 /D 3 1 1 3 Bdim 3 7 5 3 3 3 7 12 3 8 4

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By Brad Davis

The Bluegrass Guitar Style of

Charles Sawtelle

In addition to the tablature and standard notation of 27 Sawtelle solos, this book also includes:

Adetailed Sawtelle biography, An in-depth interview with Charles, A section on Charles’ rhythm style, Charles Sawtelle Discography, The rst ever Slade biog-raphy, Notes on each solo transcription, and Dozens of photographs. A must for all Sawtelle and Hot Rize fans!

CALL

1 (800) 413-8296

or visit www.fatpickingmercantile.com

to order with Mastercard, Visa, or Discover

Now Available as a digital PDF Download at www.flatpickdigital.com!

The Devil and Dynamics

When Dan Miller told me that this issue was going to feature Gospel music, I thought, “What perfect timing!” I have just recently released a new Gospel recording, through Bluegrass Valley Records, titled Walk On Faith. This is my rst Gospel recording and I had a lot of fun writing and recording these tunes. You can check out the CD on my website (www.braddavismusic. com).

This song, “Never Give the Devil A Ride,” is an mid-tempo tune and I split my guitar solo with the mandolin and six-string banjo. The mandolin and six-string banjo play a straight and fairly sparse eighth-note solo together, and then I jump in and double time my guitar solo with a stream of sixteenth notes. I play a mixture of alternating pick strokes and “double-down-up” pick strokes as you will see indicated in the tab.

If you listen to the recording you will hear that just after I nish my solo, I bring

the energy of the song way down to just a rolling banjo playing when the vocal comes back in. Then the energy slowly builds back up when the mandolin chop, and then the guitar re-enter the song. In arranging the song, I thought it would be effective to build the energy with the sixteenth-note solo, and then bring it way down with just the banjo and vocal. All of the instruments and energy don’t come back in until we reach the chorus. I think this style of arrangement gives a nice dynamic feel to the tune.

In bluegrass music we tend to always want to keep the energy high and the notes ying. Sometimes though, it is nice to lay way back and bring the energy down, especially after a real fast and furious solo. Dynamics can be used to great effect both within your solo and in the song arrangement as a whole. Try playing around with the dynamics the next time you arrange a solo, or arrange the groove and feel of a new tune or song for

your band. _{www.atpickingmercantile.com} 800-413-8296

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Never Give The Devil A Ride

Audio CD

Track 10

Written by Brad Davis

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Vol_17_No_6

$6.00

$6.00

Magazine

Magazine

Volume

Volume

17,

17,

Number

Number

6

6

September/Octo

September/Octo

ber

ber

2013

2013

Carl

Carl

Jackson

Jackson

Elliott Rogers

Elliott Rogers

Andrew Rigney

Andrew Rigney

“I love the longevity that I get out of

“I love the longevity that I get out of

GHS Strings

GHS Strings

.

.

They outlast

They outlast

any string

any string

I’ve tried.

I’ve tried.

T

T

op that off with the tone

op that off with the tone

and brightness they contain and I have

and brightness they contain and I have

it all.

it all.

Y

Y

ou may have a good sound

ou may have a good sound

ing

ing

instrume

instrume

nt,

nt,

but GHS Str

but GHS Str

ings will mak

ings will mak

e

e

it sound better!”

it sound better!”

CONTENTS

Flatpicking

Guitar

Magazine

Flatpicking Guitar Magazine

Podcast

Interviews, fatpicking tunes, and more. Check it out:

Bluegrass Rhythm Guitar: “Munde’s Child”

15

Joe Carr

Beginner’s Page: “Cryin’ Holy”

18

Dan Huckabee

Kaufman’s Corner: “Old Gospel Ship”

20