Flatpicking Solos

7/25/2019 Flatpicking Solos

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CONTENTS

Introduction

Acknowledgments

Performance

otes

Alabamaubilee

Angeline

he

Baker

Beaumont

ag

BillGheatham

Blackberry

lossom

Gluck ldHen

Ragtime

nnie

Red

Haired

oy

St.

Annens

eel

Whiskey

efore

reakfast

Guitar

Notation

egend

4

4

5

I

l4

23

29

36

42

48

54

59

65

70



CD

TRACl(

LISTTNG

Alabamaubilee

GluckOld

Hen

1.FullPerformance

14.FullPerformance

2. Play-Along hythmGuitar

rack

15.Play-Along hythmGuitar

rack

3. Slowed-Down

lay-Along

16.Slowed-Down

lay-Along

ArgelineheBaker Ragtimennie

4.

Solo

erformance

17.FullPerformance

18.Play-Along

hythm

uitar

rack

Beaumont

Rag

19'Slowed-Downlay-Along

5.

FullPerformance

6.

Play-Alonghythm uitar

rack Red

Haircd BOy

7. Slowed-Downlay-Along 20.FullPerformance

21.


rack

Bill Gheatham

22.Slowed-Down

lay-Along

8.

FullPerformance

9.


rack St.

AnnetSReel

10.Slowed-Down

lay-Along

23.FullPerformance

24.Play-Alonghythm uitar

rack

BlackberryBlossom

25.Slowed-Downlay-Along

11.FullPerfurmance

12.Play-Along

hythm

uitar

rack

WhiskeyBeforc

Breakfast

13.

Slowed-Down

lay-Along

26.FullPeformance

27.


rack

28.

Slowed-Down

lay-Along



I]ITRODUGTION

This book is

the

restr l t of

reqtrests ronr

sui tar ists

r,vhclwant to learn nlv contest

arrangelnents.

All these

tunes zrncl

nrrangernents hav e been trsed bl'rne tcr

udn l'arious

trilditionarl

nrrrsic

grritar

cortrltetitions

throtrqhorr t the Ur-r i tecl tates.Sorrreof ' the contests I

have rvot-r vith

these tunes are the 2003 Sotrtl-r

( larcr l ina

State Flatpickinq

Chanrpionships, the 2002

Natior-ral

Flirtpickins

(lharnpior-rships

(\\' infielcl,

Kansas), the

2002

Doc

\\ 'utson Clt r i tar

l i rampionships

at

N{erlef'cst,

he

2002

f}al:rx

Olcl

Ficlcller-'s

(krnvent ion,

the

1999 \A'avne

1.

Henclersol l

Grr i tar

Charnpionsl-rips

(Rugbr'.

\ ' ireir-ria), ancl rnaltv other

contests

helcl

in

Vireinia, Nclr th

( larol in i r ,

Terrnessee,

and South flarolir-ra.

In

arranginu

these

tunes I

t r iccl to

nraintar in

hc'

rnelodv

ztncl

preserve

the florv,

blrt

at the

sanle tinre

I

tr iecl to ttse

AS

nAn\1

qttitAL

tricks"

as possible. To this

end, rvhen I

arrangu ir. une, I first

leanr

the

rnelodt'

in

as

manv

locatior-rson

the

neck of ther gtritar

as

possible.

I

zr lso ind as

lni lnv

vcrsions

of ' the

tr rncs

as I

can. Ancl I

get

ideas f rc lnr

other

instr t rments;

i r ]

f i rct ,

I

strive to

n()t

l isten to

grritar

versions

so

that

I

r'r,il l

no t

sound l ike

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-r

he rnelodv czrn leave out :rncl

still

recostrize

it.?

Or-rcc harve

brrncl

the basic

skeleton of'the rnelodv itr-rcl

he

locution

of tl-rosc:

notes, I

beein looking

fclr

places

rvherer can

insert

gtr i tar

t r icks:

sl ides,

harnrner-orrs,

prr l l -of l is,

ends,

open

str ing/ f ret tecl

note

combinat ions, chromat ic

ideas, nten,al l ic

phrascs, harrnonics,

etc.

There

is

:rn

endless catalog of

mtrsical

ideas that

are specific

to

thc guitzrr, and

votr

shr>trlcl e familiar rvith all of

thenr .

All these irrrangclnents are r,l,ithin the reach <l f

nrost interrnecliatc

irnd aclvanced pl:u'ers, but

beginning st t tc let t ts, oc) ,

shotr ld

be able

gain

a

lot of

virlu:rble experience by stuclying them. The

cliffictrlt

sections

cnn be

masterc'd

if

,votr

zrke hern one

phrase-or c\'( ' l l orte

note-at

a time. The tempos

inclicatiol 'rs

are

a

guide,

as these arr2ulgements l'r,ork

rvell

zrtbotl-r

slorv and

last

terlpos. Tl-re main

thing

to

strir,e

for

is rntrsicarlity.

My

seneral

rtrle reqar-cling

pick

direction

is

that

I

trse clou'nstrokes on

the: stl-ong

part

of

the

beat ancl

upstr()kes orr the n,eak

part. \A'ith

triplets, I

sonretirrres

brcak this nrle

by

startir-rg

with

an

upstroke;

in

other lvorcls, rvhen you

har,e

two eighth

notes, thc

first

gets

the

drlrvnstroke

arrd

the second

thc t rpstroke.

I r - r 16th

note

grouping, the

f i rst notc '

gets

a clou'nst r-oke, he

second an trpstr-oke, he third

zrdor'r'nstroke,and the fotrrth

an

upstroke

.

Bv

firllou,ins

this

rtrle

and

observing

the location of the

note

rvithin the beat,

your

pick

rvill always

be

movins

in

thc

correct

direction.

Syncopations,

holvever,

rniqht

have

vou

pickinq consectrtive upstrokes or

dcllvnstr 'okcs.

(l.oocl

uck, and

I hclpe

you enjol'learning thesc-

afral tgernents.

-Sccltt

Fore

AGKNOWLEDGMENTS

I 'cl l ike

to

th:rnk:

M,v

sons, Carsor-r ,

r rst in,

and

Alex,

fbr

love and

encor lragcment, zrncl

orte ing

srrch

gr-eat

ons.

I

couldn't irsk frrr finel s()lls

rnd

fincr

people tcl be

arotrnd.

My mom and clacl or things too numerous to

rnent ion.

My, brother

and sister br

years

of 'encourergernelr t

and

fclr

:rlrvays

ell inq

nre

that

I

cclrr lcl

clo

it .

Chelvl

Ltrnsf<rrd fcrl love

and strppor-t.

Thanks

arls<r

for helpi t rq

me hone these

arransements and

for

encouraginu rne

to push ber,clncl

norntal lirnits.

(larson

Coopcr

for al l 'avs

prrshing

lle

to u'ork

harcler

ol'r rr]\ ' rieht-hancl

techniqrre

ancl f<rr

inaclver tent lv

brcine nre

t( )

keep st l iv ing

to plav

u' i th

more

authoritv.

Rick It-ajnvak

at Real2Reel for helpine rne recorcl

the t t rnes on the CD in his incrccl ib le studio. and for-

frienclship.

Lotr Roten,

El len Tai t ,

ancl Clhr is

Nl ic lc latrgir

t

Schertler for

the

grezrtest

picktrps

ancl speakers.

Thev

help me

t-o

alu'avs

souncl

goocl

rvhen

"pltrggecl

in."

l )ana

Botrrseois, Bonni

Llovcl ,John Thigpen, : rncl

4

all of'the fine folks :rt

Pantheon/Bourgeois

guitars

for

btr i lc l inq some of the best

gui tars

fbund

&r111vls.e.Bourseois

guiterrs

bring orrt

the best

in

nrv

plavine

ancl

creativi$:

Steve Mcflreary at Collings for supportin g the

\\'alr-rtrt \hlley Festir,al and for btrilcling fine

instr t r rnents.

Mike

Lille ancl

Elixcr

strinp;s

or

the

great

Ni.rnon,ebs.

excltrsivelv trse

Elixer Nanort'ebs string.s

on all

nry

guitars.

G'r'eut

clne and

feel from

the

tirne

thev

are

put

on the

stritar.

No waiting for the strings

to break in.

\\':n'ne Flenderson

in

Rtreby,

\rirginia,

for

buildinq

s()nre

ine

instnlrncnts,

irnd

fbr

sorne fine

guitar

picking. I

f 'ecl ncr-edibl t ' fbr t t rnate

to have the

()ppol'trrnitv

to

learn fr-onr

great

plavers and builders

likc

\A'al'ne.

All the fine r-ntrsicians rorn rvhonl I've had the

pleastr re o

"borrorv"

gtr i t : r r

techniques.

The l ist is

t rerr re

<lorrslv

r lng.

\A'avne Dunfcrrd at

FcltoExpo

in

Christiansburg,

\tirgir-ria.

A'a1'1.'t

a

gl'eat

friend,

photographer,

artist,

and rnrrsic ian.



PERFORMANGEOTES

ALABAMA

JUBILEE

This

tune, along with

"Ragtime

Annie,"

is

one that

I

can alrvays

count on to

place rne in competitions. I trse everv

technique except

harmonics in

this

arransement. I

also normally

plav

this tune at a

ternpo of 140+

rvhen

I

compete.

This is

probablv the

most

challengins arransement

in

the book.

It requires

you

to

have

a

highly

developed

right-

hand

technique, especially rvhen

playing

at the faster

tempos, but i t

also

rvorks

well at slorver

temp()s.

The

song kicks off

r,vith

he

ttrmarotrnd

and

soes

straigl-rt

o the

melodl ' .

The first section

is

straiehtforlvard,

and it is not until

vou

get

to the

second

break that th ings get

harder. The

second

break is crosspickecl

and there

is

a

lot of

string

skipping-let the strings ring

as

long as

possible to

give a

fuller

sound.

The

lick at

rneasure

28

is

an

intervall ic

type of

l ick. I

borrorvecl the

idea from.lazz

saxophonists. The main

thing to

remember,

as

for

al l

these

arransenlents,

is

to

play

from

chord

positions.

The

third

section begins at

rneasure

38 and

is

straightforward. Pay

attention to the

recording

to

ge t

the feel

of the double stops at

measures 42, 49,

50,

51,

anc l 52.

Listen

to the

recording

to

get

the accents.

ANGELINE THE BAKER

The Intro is

somethine

I

came up with

rvhile sittinq at a

friend's hotrse-I

thought it soundecl like a

frasment

of the

rnelody. It is

also a rvay of

starting

the tune without

resortins

to the standard

"breakdolvn"

type of

Intro.

The arrangement

is fairlv

straightforward. Try

to

maintain

the

florv of

the

melocly since this is a solo. You will note that there is

not

a rhythm

track

for

this tune.

The first

tricky licks

come

in measures

35 ancl 39.

After

the

initial

bend, rake

your pick

back across the

strings fretted

at the 7th

fret. This lick is

derir,,ed

from

piano players and guitarists

l ike

Jerry

Reecl

and

Jim

Flurst,

and I use d it a lot when I

played

electric

guitar

in

country bands in the

'80s

and

'90s.

The

section beginning

rvith

measure 41 is reminiscent

of

Chuck Berry's licks

or those of

R&B

gtritarists of the

'60s.

Measure 49

makes me think of a

loose

Steven

Stills-type

groo\re.

Play

this section

loosely

and don't

pay too much attention to the open strings; yorlr

focus

should be on the fretted notes. Tr),to keep the

dropped D ringing

as much as

possible

to fill out the

sound. There is

a

lot

of crosspicking

in

this

arrangement,

and

it

will

reveal

any weaknesses

n

your

riqht-hancl

technique.

The

song

fir-rishes

he rvay

t

begins, rvith the

openine chordal strtrcture.

You

should try to

imitate'

the

sound

of

a sl ide

suitar

in

the

final chord of

tl-resong.

As in

all the songs,

l isten

to the

recorcling

to get

the accents.

n

al l these transcr ipt ions, the accents

s( ' l

the

notes

apart

fiom-just

a steady string ol

l6th

rt()t('\

I)on't let

the tab scare you, b ecause this

arrangelnent

is really

one of the easier

ones. Tlrc

secret to thi s tune is to keep

the open

D ancl

A

str inqs

r inginq in

a

"drone- l ike"

fashion. This hcl1r .

f i l l out

the single-note

melody' l ine. As

rvi th

ar l l

of ' t l r t '

arrangements in this book,

play otrt of

the cholrl

positions-this will

rnake

the arrangements

finscr'

rnore easilv.

BEAUMONT RAG

This is

another arrangenrcnt t l i : r t

r :

fa i r ly

simple to plal ' .

The thir )s t ()

kt ' t '1r

in

rnind

is

to

keep

the

f lorv

uoing.

There is

a

lo t

o f c rossp ick ing

r r t l r i .

arrangement.

As

rvi th al l crosspicking,

\ 'orr r ) t ' t ' r l 1, ,

f inc l the chord shape and ho ld dou ' r - t : r l l h r '1 '11v11 ' : . l

the chord.

In

other words, don ' t

reac l

l tc

ta l r

or r t '

note at a t ime, but in

eroupings

of notes.

F()r '

example,

in

the G7 chord

in me asure 1 fJ .

o t t

l r , l r i

dorvn the F note

at the

3rd f ret for t l - re

rr l l r r r t ' r r \ur( '

r , lh i le he o ther

notes move

arot rnd

i t . [ . i s tcr r o

t l r t '

record ing for

the accents

n

the crossp ickec l

r ' r

i , ,n -

Accents help

br ing out a

rnelody

lvhen

crosslr ic 'k i r r ,g.

Be carefirl to

let

all the notes

ring

as

lons u:

possible

for

the

"f loat ing

notes"

sect ion

begir rnir r ,g

t t

nreasure

34.

"Float ing

notes"

are combinat iorrs

oI

open str inss and fret ted notes; the

r ineing ol) ( 'n

strings produce a

harp-like

sound.

One of the toughest parts of the sons is the

diminished

rtrn in meastrre

38;

you

can

loclk I irr '

other

fineerings

to

make

this

run

easier,

but

I'r

c

tabbed

it

the

rvay I

play

it .

Meastrres

50 throush 53 should be crosspicker l .

Look

at the

finger

groupings

in

each

measrlre, uncl

just

slicle them down the neck; then

plav

measru'('

54 as a tremolo. It's fairly tough to

go

from the

crosspicking

in lneasrlre

53 to the trernolo

in 5-1arrrl

rnaintain

timing.

As

with all the songs, work u'ith

a

metronome set

to a slorv tempo, and rvo rk trp

to a

fast

tempo.

The encling tag in the last three measures can bc '

plaved

rvithout

accompaniment.

Again, as

n'ith all the sonss,

l isten

to the

recordirrg

to

get

an idea of

the accents.



BILL

CHEATHAM

This

arrangement

is

fairly

straightforward

and shouldn't

pose

many

problems.

t

opens with a statement

of the basic

melody. In measure

19 I

begin

a break

using

"floating"

pelss-you

should

strive o

keep the

strings

ringing

as

ong as

possible

o achieve

he

"floating"sound. n measures 1, 63, and 65 the

slashes

ndicate

that that

section

s

to be

played

using

tremolo or very

fast strumming. Giving

the notes their

full

valueswill

help

with the

flow of this and

al l

arrangements

n

this book.

The

thing to

keep in mind is that,

in

all the

sections, ou should maintain chord

shapeswherever

possible;

doing so will

help keep notes

ringing

and

help fi l l

out the song.

The

trickiest part of the song

occurs

n measures

5l-58, where

I

play the tune

using

harmonics.

Harmonics are representecl y diamond-shaped

notes and are

played

by

lightly

touching

a string

directly over top of the

fret indicatecl

n

the tab.

Trying

to

make

these

harmonics

oud

and clear

s

diff icult at the faster empos at which

this

piece

s

normally

played.

The

song

is fairly straightforward

after this

point.

Again, listen

to the

recording to

get

an

idea of the

accents.

BLACKBERRY BLOSSOM

This arrangement begins

with the basic

melody, which

is

augmented

only slightly

in measures6 and 7.

Pay attention to the

record.ing o

get

the

feel

of the

"B"

section

beginning at

measure

10. n measure18, the

open G string allowsyou

to move up the

neck

without

breaking the

flow

of the tune.

This

is

a trick

used by

lots of

guitarists.

The open string

rings

while

the

hand is

changing positions.

The

"floating"

section, which begins

at

measure

34, s playedby holding the chord shapeand sl iding

it

down the

neck

while allowing

the open

strings

to

ring.

Measures44

and

45

should be played

as one

long

run

to

maintain

the

flow. Let the

notes ring into each

other to achieve hat

"floating"

sound.

The

ending, which begins with

the

last measureof

the

"B"

section,

s

played as

one

long

grouping.

This is

one of the

most oft en-played tunes

in the

fiddle

tune

repertoire,

and the

first

tune

I

learned

many

years

ago.

CLUCK

OLD

HEN

"Cluck

Old

Hen" is an old-time

modal

tune with both a

major and

minor feel.

I t 's

good

for lea rning to use the

pentatonic

scale to

improvise. It's

similar to such

tunes as

"Big

Mon,"

"Wheel

Hoss,"

and others

that Lrsea

flat-7th chord.

The bends can be played, alternatively, using sl ides

or

"hammer-ons."

As in

all the tunes

in this book,

le t

the notes ring

for

their

ful l values.

Listen to the

recording

to get

an

idea

of the

exact rhythms.

Guitarists

familiar

with pentatonic

and

blues scales

will

find

this

arrangement very

"finser

friendly."

Improvising over this progression

is

easy when

using

the G blues scale

in its various

positions.

RAGTIME ANNIE

Pay attention to the

rhythmic

groupings

and

listen

to the

recording to get the

rhythmic nuances.

This is

a

dance tune

and,

as such, should be played

rvith

dancers

n mind. It needs a strong

right-hand

technique because

of the crosspicking

nvolved.

As

with all the tunes

n

this

book, you should

let the

notes ring for

their

full values,

f not longer, to

give

the song a

full sound.

This arrangement

s

a crosspicking

our de

force

and requires

right-hand

precision.

The

piece

can be

crosspickedusing

strict alternate

picking

or the

"DDU"

pattern

used by crosspic king

egendsGeorge

Shuffler andJames

Allen Shelton.

This

pattern

createsa slightly different

sound but also

makes

t

more

difficult

to achieve he

same speed hat

can be

obtained rvith alternate

picking.

Depending

on the

sound

I

want

to achieve, use

both

picking

patterns.

RED HAIRED BOY

This version

s ratherbasic nd should

be accessible

o all beginning

an d

intermediate guitarists-there

are

no

difficult techniques

used.

The last

section

s

played

mostly with hammer-ons

and

pull-

offs and serves

as a

good

exercise

or those

techniques.

The second break

is

played

mainly

around

the 7th

fret. For the Chorus

in

the

second

section, ry to think

like a mandolinist to get

the

feel

of the chordal

section and

play

t loosely.Listen to

the

recording to

get

the accents.

The section beginning at measure65 may be

challenging

for

some guitarists,

as

t

contains

numerous

hammer-onsand

pull-offs.

The challenge

is to maintai n the volume

of the slurred

notes.With

pull-offs

this can

be achieved only through proper

technique; that

is,

pull

and

lift rather than

simply

ift.



ST.

ANNE'S

REEL

This

tune

is

very accessible

to beginning

students. The first

section

is

playecl

slowly. Listen

to the

recording

to get an

idea of

the

f'eel. Pay

particulai attention

to pitch

when bending

the

lst

strins at lneasure

5.

At measure

10,

the song begins at

the

indicated

tempo, and the rhythm track begins here. This

arrangement

is fair ly

basic unti l

you get to the

second

section beginning

at

measure 43.

The

triplets

are

played usins

the hammer-on,

pull-off technique.

The

triplet in measrlre

58 is

play'ed using

pull-offs.

The

"B"

section is

played using

the

"floating"

chord

shapes

approach. These

chords

move

around

a

lot;

practice slowly

to

get

the notes to ring

out clearly.

For

all

crosspicked

tunes,

pay attention to the

accents

to

bring out the melody.

This

tune

is

played out of chord shapes,

some of

which may

be unfamiliar. The key

to making

this

arrangement sound smooth is to find those shapes

and

hold

them down.

Listen

to

the

recording

to

get

an

idea

of where the

accents

fall .

WHISKEY

BEFORE

BREAKFAST

Your

guitar should be in drop-D

tuning

for

this arrangement.

Normally this song begins with a

pickup

(one

or more notes

immediately

before a

ba r

l ine

that

begin

a

melody

or

phrase).

But I have

no t

used

one

here.

The first

two

bars of the song

and

most

of the

melody

are scalar in

structlrre. The first

break is

played

mainly

from

first

position open chord

scale

forms.

I've

stayed

with the melody,

and any

deviations

are

diatonic in nature

(all

the notes

are

contained

within

the

key).

The

sl ide

in measure

21

does not

originate from

any

particular

note,

although

I normally

slide from

the D at the

3rd

fret.

I 've inserted

two endings for the first

break to

demonstrate

two

possible ways to

end one break and

lead into

another.

The first

takes you back to

the

first

note

of measure 1,

while

the second

leads into

th e

second

break-you

can use either ending,

depending

on

the arrangement

you want to use. The 32nd note

figure

at the

end of ending I

would be considered

a

pickup figure.

Most fiddle

tunes

end on the

first

nore

of the final measure

or the thircl note of

the

final

measure

of

the break, which leaves

one or

two beats

for

the

pickup.

If

you

are in ajam

situation and

want

to use

one of these

breaks,

you

can

use a

pickup

or

just

begin

on beat 1

of the break.

The

second

break

begins at measure 35. Its first

section,

which runs

to measure

50,

is

played

in 7th

position. The

second section

of this break, which

starts

at measure

52,

begins

in 1Oth

position.

Measures

54 and 55 are

played

using harmonics.

Measure

56 begins a sequence

of descending 6th

intervals-1hs1,

nrove

diatonically

down the

fretboard. The

section then repeats.

The

third break begins at measure

68 and is basecl

on the open string

sound called

"floating."

I've

indicated

that you should let

the strings ring into

one another. This section is easier i f you notice the

note

groupings and

play as if

you are

holding

chorcls

or chord fragments.

The

'oB"

section of this break

should be

played

in

a similar fashion. Let

all the

notes ring

for their full

values.

Note

that

measures

100-104

are a Tag to

provide

an ending for

the song.

I 've

stayed close

to the melody in

this arrangeltre

lt

and

used

predominately

notes

contained

within

th c

D major

scale. I 've

done this

to show the enorrlorrs

possibilities that are contained

within a scale.

Yotr

cun

use

rhythmic

variety

to add interest,

as well as strch

guitar tricks as harmonics, "f loating" notes, and sltrrs

(hammer-ons,

pull-offs, and slides),

but there are

many other

possibi l i t ies as well.

You

can use

pedal

tones and

play

the

melody

against

these.

You

can

even

play the melody

using

harmonic

interr.,als trch

as 3rds, 4ths,

5ths, octaves,

etc.

An interesting

ancl

challenging exercise is

to take every

other

note iu)(l

raise

or lower it

an octave.



ALABAMAJUBILEE

Moderate ly fast .=136

N.C.

Words by

Jack

Yellen

Music by George Cobb

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ANNE'S

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WFIISKEY

BEFORE

BREAKFAST

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to

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Here,or

he irstime

n

print,

re

he

hampionshiplatpicking

arrangementshat

ave on

Scott

ore

umerous

ational

competitions.he ccompanyingD ontainsull-lengthecordings

of

each f

Scott's

rrangements,

layed

y

Scott

imself,

s

well

as

play-along

hythm

racks,

oth t empo

nd lowed

own.

Scott

ore's any

ontestictories

nclude

the

South arolina

tate latpicking

hampionships

2003),

theNational

latpicking

hampionships

2002),

heDocWatson

uitar

Championships2002),heGalax ld iddler'sonvention2002),

andhe

Wayne

.

Henderson

hampionships

1999),

e

eaches

flatpicking

aster

lasses

hroughout

he

Unitedtates.

Hehas ecorded

self-titled

oloCD.

Alabamaubilee

Angeline

he

Baker

Beaumontag

Bill

Cheatham

Blackberrylossom

Cluck

ldHen

Ragtime

nnie

Red airedoy

St.Anne's eel

Whiskey

efore

reakfast

'CHERRY

LANE

MUSIC

OMPANY

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Here,or he irstime

n

print,

re

he

hampionship

latpicking

arrangements

hat

ave on

Scott

ore umerous

ational

competitions.he ccompanyingD ontainsull-lengthecordings

of

each

fScott'srrangements,

layed

yScott

imself,

s

well

as

play-along

hythm

racks,oth t

empo nd lowedown.

Scott

ore's

any

ontest

ictories

nclude

the

South arolina

tate

latpickinghampionships

2003),

theNational latpicking

hampionships

2002),

heDoc

Watson

uitar

Championships2002),thealax ld iddler'sonvention2002),

andhe

Wayne

.

Henderson

hampionships

1999).

e eaches

flatpickingaster

lasses

hroughoutheUnitedtates.

He

has ecorded

self-titledolo

CD.

Alabamaubilee

Angelinehe

Baker

Beaumont

ag

Bill

Cheatham

Blackberry

lossom

Cluck ld

Hen

Ragtime

nnie

RedHairedoy

St.

Anne's

eel

Whiskey efore

reakfast

Flatpicking Solos

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Transcript of Flatpicking Solos