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CherryLaneMusicCompany Directorof Publications/Project Editor:Mark Phillips r s B N l ,- 5 ? 5 b u- 7 r a - 3 C o p y r i g h@ t 2 0 0 4C h e r r yL a n eM u s i cC o m p a n y I n t e r n a t i o nC a lo p y r i g hSt e c u r e d A I I R i g h t sR e s e r v e d T h e m u s i c ,t e x t ,d e s i g na n d g r a p h i c si n t h i s p u b l i c a t i oanr e p r o t e c t e d b y c o p y r i g hlta w .A n y d u p l i c a t i oonr t r a n s m i s s i o n , r e, c o r d i n o g r o t h e r w i s ei s, a n i n f r i n g e m e notf c o p y r i g h t . b y a n y m e a n s ,e l e c t r o n i cm, e c h a n i c apl ,h o t o c o p y i n g visit our websiteat www.cherryrane.com@

CONTENTS

4 4 5

Introduction Acknowledgments Notes Performance

I l4 23 29 36 42 48 54 59 65

Jubilee Alabama theBaker Angeline Rag Beaumont BillGheatham Blossom Blackberry GluckOldHen Annie Ragtime RedHairedBoy Reel St.Annens BeforeBreakfast Whiskey

70

GuitarNotationLegend

CD

TRACl(

LISTTNG

Alabama Jubilee

GluckOldHen

1. FullPerformance 2. Play-Along RhythmGuitarTrack Play-Along 3. Slowed-Down

14.FullPerformance 15.Play-Along RhythmGuitarTrack Play-Along 16.Slowed-Down

Argeline theBaker

Annie Ragtime

4.Soloperformance Beaumont Rag 5. FullPerformance Rhythm GuitarTrack 6. Play-Along Play-Along 7.Slowed-Down Bill Gheatham 8. FullPerformance Rhythm GuitarTrack 9. Play-Along Play-Along 10.Slowed-Down

BlackberryBlossom

17.FullPerformance Rhythm 18.Play-Along GuitarTrack 19'Slowed-Down Play-Along Red Haircd BOy 20.FullPerformance Track Rhythm Guitar 21.Play-Along Play-Along 22.Slowed-Down St. AnnetSReel 23.FullPerformance 24.Play-Along Rhythm GuitarTrack

Play-Along 25.Slowed-Down

11.FullPerfurmance

Rhythm Track WhiskeyBeforcBreakfast 12.Play-Along Guitar 13.Slowed-Down Play-Along

26.FullPeformance Rhythm Guitarlrack 27.Play-Along Play-Along 28.Slowed-Down

I]ITRODUGTION Th i s book is t he re s trl t o f re q tre s tsfro n r s u i tari sts r,vhclwant to learn nlv contest arrangelnents. All these tunes zrnclnrrangernents have been trsed bl'rne tcr udn l'arious trilditionarl nrrrsic grritar cortrltetitions th ro t r qhor r t t he U r-ri te c S l ta te s .So rrre o f' th e contests I have rvot-rrvith these tunes are the 2003 Sotrtl-r (l a rc r lina S t at e F la tp i c k i n q C h a n rp i o n s h i p s , the 2002 Natior-ral Flirtpickins (lharnpior-rships (\\'infielcl, Ka n s as ) , t he 2002 D o c \\' u ts o n C l tri ta r (l i ra m p i onshi ps at N{erlef'cst, the 2002 f}al:rx Olcl Ficlcller-'s (krn v ent ion, t he 1 9 9 9 \A ' a v n e(1 . H e n c l e rs o l l Grri tar Charnpionsl-rips (Rugbr'. \'ireir-ria), ancl rnaltv other co n tes t s helc l in V i re i n i a , N c l rth (l a ro l i n i r, T e rrnessee, and South flarolir-ra. In ar r anginu t h e s e tu n e s I tri c c l to n ra i n ta ri n thc' rnelodv ztnclpreserve the florv, blrt at the sanle tinre I triecl to ttse ASrnAn\1"qttitAL tricks" as possible. To this end, rvhen I arrangu ir.tune, I first leanr the rnelodt' in as manv locatior-rson the neck of ther gtritar as p o ss ible. I z r ls of in d a s l n i l n v v c rs i o n s o f' th e trrncs as I ca n . A nc l I get ide a s frc l n r o th e r i n s trtrm e n ts ; i r] fi rct, I strive to n()t listen to grritar versions so that I r'r,illnot sound like any otl-rer srritarist. I also lclok for lvh:rt I call the "skeletorl" of the ttrne; in other rvorcls, holr, man,v of the notes ir-rthe rnelodv czrn I leave out :rncl still recostrize it.?Or-rcc I harvefbrrncl the basic skeleton of'the rnelodv itr-rclthe locution of tl-rosc: notes, I beein looking fclr places rvherer I can insert g tri ta r t r ic k s : s lide s , h a rn rn e r-o rrs ,p rrl l -o fl i s ,b ends, o p e n s t r ing/ f r et t ec l n o te c o mb i n a ti o n s , c h romati c

i deas, i nten,al l i c phrascs, harrnoni cs, et c. Ther e is : r n endless catalog of mtrsical ideas that are specific to thc guitzrr, and votr shr>trlclbe familiar rvith all of thenr. All these irrrangclnents are r,l,ithin the reach