Table of Contents - Doofus · Deep River Blues ... St. James Infirmary ... guitar fingerings for...

Table of Contents

Partial Capo Basics ............................................ 1Partial Capo Devices ...........................................4History of the Partial Capo ....................................7E-Sus Chord Charts ........................................... 12Handsome Molly ............................................... 16Stepstone ....................................................... 18Sweet Sunny South ........................................... 20Katie Dear ...................................................... 21Go Wash in that Beautiful Pool ............................. 22Cluck Old Hen .................................................. 24Shady Grove .................................................... 26The Coo Coo .................................................... 28The Coo Coo in Am ............................................ 30Deep River Blues .............................................. 32Little Birdie .................................................... 34Don’t Let Your Deal Go Down ............................... 35All Through the Night ........................................ 36Aura Lee (Low) ............................................... 37Aura Lee (High) ................................................ 39Look Up, Look Down that Lonesome Road ............... 40Abe’s Strategic Withdrawal ................................. 41Long Time Travelin’ ........................................... 42The Curtains of Night ........................................ 44Miss Rowan Davies ............................................ 45Since I’ve Laid My Burden Down ........................... 46Nobody’s Fault But Mine ..................................... 47John Henry ..................................................... 48Houston Blues.................................................. 49Down in Navasota ............................................. 50St. James Infirmary ........................................... 51

Partial Capo Basics The simplest way to picture the difference between non‐standard tunings and partial capoing is to consider the common Drop D tuning, and compare it with its partial‐capoed rough equivalent, which we call Drop E. If you have a Third Hand, or a Shubb, Keyser, or other open‐jaw style capo that can be used to clamp a Drop E, you may want to read this page with guitar in hand.

Drop D Tuning

In drop D tuning the low E string is tuned down one whole step to D. It has the effect of giving almost any fingering of a D family chord a big, fat, glorious tonic bass. The three bass strings on the guitar are D, A, and D, two tonics and a strong 5th bass for any D chord. You can play any D or D minor or D7 on the three treble strings anywhere on the fretboard and use all three bass strings all the time without ever tying up even one finger. That's nice. You can play melody or riffs freely anywhere on the neck as long as they can be harmonized with any D family chord.

Drop D tuning is used almost exclusively to play in the key of D, or sometimes D minor. Even in these keys it has some drawbacks. The most obvious of these is the IV chord, or G. The tonic bass that props up the IV chord is on the sixth string, the string that has been retuned. That means that bass note has migrated from the third fret up to the fifth. While this is not insurmountable, it is inconvenient. Some of the licks that fall easily under your fingers while playing a conventional G chord are either more difficult or not available in Drop D.

The key of D minor also has some problems. The drop chord, C, which is common in that key, loses access to its alternate bass on the sixth string. While this may not seem like a big problem, the weak drop chord really has a marked negative impact on that key. The contrast between the very strong I minor chord and the weakened drop chord is very evident.

All six string barre chords lose their bottom note in Drop D. Some of these are important chords in the D keys. Consider the common E form barre chord. In standard tuning it has a strong tonic bass on the sixth string. In Drop D it loses that. That means that good options for both the IV and V chords have been significantly weakened, not a small problem.

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Drop E Partial Capo

Now let's look at Drop E partial capo configuration. Instead of tuning the E string down a whole step, we're going to clamp all the other strings up a whole step. Finger a D shape chord, and you will find that you can play it as a six string chord, just as in Drop D tuning. It also has a low tonic bass on the sixth string.

Think it through. The open, unclamped sixth string is an E note. The D chord you're playing has been turned into an E by being capoed up a whole step. So it follows that you can play the D shape chord (actual pitch is E) as a six string chord with a tonic bass on the sixth string, just like in Drop D tuning.

The fundamental difference between tuning and capoing becomes clear when you play the IV chord, the one that looks like a G. Unlike Drop D tuning, where the sixth string bass note for the IV chord is displaced by retuning, in Drop E partial capo configuration the IV chord plays normally. So does the Drop chord in the minor key. So do all the barre chords. This is very useful.

There is one fly in the ointment, although a minor one. The II minor chord (the Em fingering) loses it's sixth string tonic bass. That is an important chord in some songs in this key, although in thousands of songs it doesn't show up at all. Fortunately, if you are using a low profile open jaw capo to clamp the Drop E, it isn't too difficult to reach over the capo to get that bass note back. Or you might decide this is the wrong configuration for a song that relies heavily on the II minor.

It's also worth noting that while Drop D tuning is only useful in the keys of D or D minor, Drop E can be cross keyed to wonderful effect. Playing in G position (actual pitch A), you get a standard I chord, a standard IV chord, and a V chord with a gift low tonic bass note on the sixth string. This is worth considering for almost any G position I‐IV‐V song. The fingerings are all normal, but one of the most important chords in the key is noticably improved. Another cute trick this configuration lends itself to is starting a song in C position, with C, F, and G shapes as the I, IV, and V chords, all of which finger normally, and then modulating up to D at some point in the song. It sounds as though you didn't just change the key, but the tuning as well.

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Summary...

By now the difference between a non‐standard tuning and a partial capo should be coming into focus. When you retune, all of the notes on any string which has been retuned are displaced by one fret for every half step of retuning. The fingerboard can very quickly become an unfamiliar place. The common fingerings of chords and scales which we have all put so much time into mastering are lost.

Of course this is not in itself a bad thing. Open tunings are great ways to discover musical combinations you might never stumble across in standard tuning. Open tunings open new doors, but they also close others. In many tunings the doors which are opened are outnumbered by those which are closed.

This is not necessarily a problem. If all you're trying to do is arrange one song, then all any tuning has to do is provide the fingerings that will do that job. The things which may not be possible in that tuning are irrelevant.

Standard tuning is standard because it offers the most versatility. You can play with relative convenience in many different keys using standard tuning. Non‐standard tunings are much more specific. Usually they're effective in only one key. A particular tuning may give you a great I chord, a cool IV chord, and an acceptable V chord, but perhaps offer no good way to finger a relative minor. This is why most people who use open tunings a lot, use a lot of different open tunings. Otherwise everything starts to sound the same.

In contrast, partial capoing only alters chords and scales where one of the unclamped strings is played open. Barre chords and closed position scales are entirely unaffected. Many nut position chords are fingered normally as well, depending on the configuration. A partial capo can give you access to open tuning‐like tonalities, and to chord voicings not available in standard tuning, without turning your fingerboard into terra incognito.

3

Partial Capo Devices

This absurd photograph actually appeared in the Journal of Research in Music Education in the early 1980's. The Journal was publishing a paper about how to use the partial capo to simplify guitar fingerings for children and those with learning disabilities, and their editors did not want to give publicity to any specific commercial product. Since our Third Hand Capo was the only product there was that accomplished the task of making an Esus chord, they printed this photo rather than one of our capo.

There are a number of ways to partially capo a guitar. They fall into three categories: capos designed for partial application, standard capos that can be used out of the box for some partial configuration(s), and standard capos that can be readily altered for partial use.

Third Hand Capo

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The Third Hand Capo is the only universal partial capo. It can clamp any combination of strings on any guitar. It is the best way to clamp some configurations, and the only way to do them all with one device. It is invaluable for experimentation. If you get involved in partial capoing at all, you should have a Third Hand. Many people will find it satisfies all their partial capo needs.

There are at least two other commercially available capos designed for specific partial configurations. The Shubb partial capo can clamp either an E suspended chord or an A major chord, depending on which side of the neck it is applied. from. The Keyser Drop D capo is designed to clamp all but the low E string at the second fret, making the configuration we call Drop E. We were making our own versions of it out of standard Shubbs for years before they decided to start manufacturing them. (See below.) The Esus configuration is by far the most popular of all the partial capo uses, and Open A, the other configuration it clamps is also very useful. The Keyser Drop D works fine, but you can do the same thing by simply off-setting a standard Keyser, so we think its existence is pointless.

Shubb Partial Capo

Keyser Drop D

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Several "open jaw" type capos, including Shubb, Keyser, Victor, and Dunlop Trigger models can be placed slightly off center to clamp Drop E configuration. None will work on any or every guitar, but all will work on most guitars. (Be careful when doing this. You don't want to mar the back of your neck. The padded part of the capo cradle is out of position and metal may contact the finish.)

Finally, some models of standard capos can be adapted to partial use with grinders, saws, and files. Just about any open jaw capo can be shortened to make Half Open A. Notches can be filed or cut to let strings pass through capos for other configurations. This can be tricky. Fingerboard width, string action, and fingerboard curvature all have to be taken into account. We prefer to work with Shubb capos when doing alterations for several reasons. They are made of brass, a soft metal which works easily. They have the smallest profile of any open jaw capo we know, so they're the easiest capo to reach over when you need to finger a note next to or behind the capo.

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Harvey Reid has been using partial capos for 24 years, and though thin the world,and has been used effectively by thousands of players, thas been mostly ignored by the guitar press.

History of the Partial Capo

e idea has taken root many places eachers, and music therapists, it

by Harvey Reid

The history of the Third Hand Capo is a history of coincidences. I have not been able to determine if the idea of a partial capo has occurred in the past, and the 5‐string banjo is still the only stringed, fretted instrument I have seen that uses strings of different lengths fretted on the same fingerboard. I have looked in museums, and read a lot of books about the history of stringed instruments, and have found no instrument that uses strings of different lengths, fretted on the same fingerboard. Classical harps have had "sharping levers" for a long time, that shorten strings, and bass players have had an extended low E string that can be made 2 frets lower to D in the same manner as a partial capo, but the idea of playing a stringed instrument intentionally with different length strings seems to be new. I know of no one who has recorded or explored this idea in depth before me.

In the Fall of 1976 I began experimenting with capo‐ing only some of the strings of a guitar, while I was in the only period in my life when I was playing some 5‐string banjo. (The issue of what happens when you capo the banjos's 5th string up to A or tune it up to A is exactly the same issue involved in the Third Hand Capo.) I was teaching guitar classes at the University of Maryland. By coincidence I happened to see an ad for a chord‐forming capo in a guitar magazine, the very night I was sawing up Bill Russell capos to make A chords and trying to design a variable capo. I figured somebody had beat me to the idea, and thought no more about it for a while. I eventually contacted the company that made them, bought a few, and exchanged some letters with the inventor, not fully realizing how little he knew of how to use the device.

In 1979 I moved to Nashville to make my fortune, where I met Illinois songwriter Jeff Hickey, who asked me a question I still cannot answer when I showed him the capo at my apartment one night. He asked me "Why doesn't every guitar player on Earth have one of these?" He had some experience in running a music store, so rather than wait for our turn to get famous in Gnashville, we formed the Third Hand Capo Co. of Nashville, TN which began marketing the capo that fits any guitar and that allows any combination of strings to be clamped using a mechanism devised by Lyle Shabram. He invented the mechanism as an easier way to tune the guitar; his idea was inspired by the Insta‐Tune, (which, coincidentally, was invented in Rockville, MD, and which I got as a free gift when I bought my first guitar because it was sitting on the counter at Wheaton Music, a few miles away, where I bought my Hoyer 12‐string in the summer of 1971. I also got a free Jerry Odo Hi‐Fi Pick) I still have my original Insta‐Tune, which I used to show my guitar classes for laughs, and which is on display in Jeff Hickey's Capo Museum in Madison, WI.

Here is a "What's New" column from Guitar Player Magazine April 1968, that shows the Insta‐Tune. Someone recently sent me this clipping, because, coincidentally, they had called it a "third hand". I had never seen this until then. The device holds down the 5th fret of the string (and shifts over to hold down the G string at the 4th fret) so you can pluck the string with one hand, and work the tuning knob with your left hand, and not have to hold down the string to compare it to the next string while tuning.

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The "ChordForming Capo"

Lyle Shabram's Chord‐Forming Capo was sold to a few people and a handful of music stores in California in the mid 1970's, with the subtitle "A Tool For the Creative Musician." Lyle was correct about this, though the instructions from his capo (shown below) and subsequent discussions with him indicated that while he had made the device to tune the guitar, he suspected (correctly) that there might be musical uses for his capo. As far as I know, he never found any of the ones any of us actually use, and the picture here (the original; instruction sheet with the capo) shows 2 diagrams of how to make an E chord with 2 capos, and how to capo both E strings at the Third fret with one capo.

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I published a book in 1980 called A New Frontier in Guitar, revealing what I knew about the subject, after realizing that the capo itself did people very little good without a lot of information on how to use it. Since then, most of the information in the book has been crammed into the instruction sheet that comes with each capo.

In 1982 when I recorded my first guitar album Nothin' But Guitar, it included 7 cuts with the Third Hand. I believe this is the first commercially available recording made using a partial capo. Since then I have recorded over 74 tracks using 16 different capo configurations, and only a handful of people ever noticed that something very different was going on. On stage I most often use sawed off straight capos, for speed and appearance. (I did not use the capo when I won the 1981 National Fingerpicking contest in Winfield, KS. ) Now that the idea has spread rather widely and other musicians are claiming to have developed this concept, I feel it is time to stand up and take credit for propagating the idea.

Most of those who use a partial capo use primarily the E suspended configuration, which I first started using in 1980. The first pieces I wrote for this configuration was "Suite in F: For the Duchess", which I recorded in 1983 on my 2nd LP "A Very Old Song" (The title cut, written in 1980 also uses this configuration, as does "I Will Learn to Love You," and "Dreamer or Believer".)

I have published 3 books about the capo (1980, 1983, 1984), and have written a chapter on it in the first college‐level folk guitar textbook ever published (Modern Folk Guitar Knopf 1980, now McGraw‐Hill, still in print in their textbook division). I developed a revolutionary method of using a partial capo to teach beginning guitar with simplified fingerings, (the Duck Soup Guitar method) and gave talks on the subject at the National Association of Music Therapists (1982) and National Assoctaion Of Music Educators (1983) conferences. I published an article (with co‐author Dr. Terry Kuhn of Kent State Univ.) in the Journal Of Research of Music Education on the same subject. The capo has been in constant use by dozens of university music departments and music therapy centers ever since.

Recent Developments

Many people mistakenly assume that I invented the Third Hand Capo mechanism, and that I use only it. In fact, I was the first person to saw off a Shubb capo, which I did in 1987, and have used ever since on stage instead of the clumsier Third Hand. There have been unconfirmed reports for over a decade that

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various Third Hand Capos have appeared in the concerts of Dan Fogelberg, John Sebastian, Lindsay Buckingham, Ry Cooder, and others, but I have no evidence.

We gave a lot of Third Hands away to famous people at concerts and trade shows over the years, and many music stores have had them on their shelves since 1980. The Third Hand Capo Company has sold tens of thousands of these capos since 1980, in over 20 countries, and they have been given to many many well‐known and not‐so‐known guitar players, most of whom did nothing with it. Chris Proctor got his in 1981, as did Seth Austen, and these two players jumped on the bandwagon quicker than most, and have been quite active, especially in using the Esus configuration. Below is an August 1982 letter from Leo Kottke claiming he was afraid of it, and showing his lack of understanding of it.

The recent expansion of the use of the idea of partial capoing owes a lot to several of my friends from New England who have used the device for years. Tom Pirozzoli is a songwriter from Sunapee, NH who took his Third Hand Capo to the Kerrville Folk Festival in Kerrville, TX (a mecca for modern songwriters) where he tells me he showed it to David Wilcox in May of 1989. Tom has told me that at that time David was not using any partial capoing in his playing, though in the last few years he has begun to use it quite a bit, almost exclusively the Esus configuration, for which he saws off a Kyser capo. (He has claimed in several interviews to have been using the idea for longer than this.) Cosy Sheridan, Cormac McCarthy and Rick Watson are also players from the Northeast who have begun to tour the country quite a bit in the last few years, and they have no doubt spread the capo around. (The list of players who have been given a capo and not used it is a much longer list.) At the Winnipeg Folk Festival in 1993 I did 2 guitar workshops with Adrian Legg, who at the time was not doing any partial capoing. Since then he has started to use one, especially the Open A configuration, I have been told.

The Third Hand Capo Co. will release a compilation of my partial capo work, as yet untitled, hopefully available in 2001. It will contain many things culled from my existing catalog, but will also have several cuts from Nothin But Guitar (long out of print), possibly some home tapes from 1980, probably the original version of The Albatross, plus several new tracks available nowhere else, and probably some alternate takes of earlier things. Shubb capos http://www.shubb.com/ has begun manufacturing an Esus partial capo last year, though I am not sure if it will fit any guitar neck at any fret. There may be too much variation from the thin Telecaster neck to a classical fingerboard, and a single width of capo may not fit them all. The beauty of the Third Hand Capo is that is does indeed fit all guitars and allow clamping of any possible combination of strings.

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http://www.shubb.com/

The largest challenge now facing the partial capo issue these days is the issue of notation, and I have posted an open letter to the guitar industry about this problem.

If anyone knows any relevant historical information not included here, please notify me.

HARVEY REID June 1996

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http://www.thirdhandcapo.com/openletter.html

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September 2008, Doofus Music

Handsome MollyUse E-Sus Partial Capo/Play in E

While sailing around the oceanWhile sailing around the seaI'd think of Handsome MollyWherever she might be

She rode to church on SundayShe passed me on byI saw her mind was a-changingBy the roving of her eye

Don't you remember, MollyWhen you gave me your right hand?You said if you ever marry That I would be the man

Now you've broke your promiseGo home with who you pleaseWhile my poor heart is achingYou're lying at your ease

Hair was black as a ravenHer eyes was black as coalHer cheeks was like some liliesOut in the morning grown

17

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September 2008, Doofus Music1

StepstoneUse E-Sus Partial Capo/Play in E

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September 2008, Doofus Music2

It's hard to be parted from those that we loveWhen reverses in fortune have come

The world's strongest heartstrings are broken in twoWith the absence of loved ones and home

(Chorus)

I stand on my stepstone at eve'ning time nowThe wind rushes by with a moan

Now it is gone and I stand here tonightOn this my old stepstone and home

(Chorus)

19

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.0


Sweet Sunny SouthUse E-Sus Partial Capo/Play in E

Take me home to the place where the little ones sleepPoor massa lies buried close byO'er the graves of the loved ones I long to weepAmong them to rest when I die

I think with regret of the dear ones I leftOf the warm hearts that sheltered me thenOf the wife and the dear ones of whom I'm bereftAnd I long for the old house again

Take me home to the place where the orange trees growto my cot in the evergreen shadeWhere the flowers on the river's green margins may growThey are sweet on the banks where we played

The path to the cottage they say has grown greenAnd the place is quite lonely arundAnd I know that the smiles and the forms I have seenNow lie deep in the dark, mossy ground

Take me home let me see what is left that I knewCan it be that the old house is goneThe dear friends of my childhood indeed must be fewNow and I must face death all alone

By yet I'll return to the place of my birthWhere my children have played at the doorWhere they pulled the white blossoms and garnished the earthWhich will echo their footsteps no more

20

&

TAB

# # 44 œ œ œOh Kat - ie

42

4

˙ œ œ œ œG

dear Go ask your

0 0 4 0 0

œ œ œ œ œ œ œD

moth-er If you can

2 0 0 00 0 4

˙ ˙G

be a

20

& ## œ œ œ œ œ œ œD A

bride of mine If she say

24 2 2 4

24

˙ œ œ œ œG

yes, then come and

0 0 4 0 0

& ##œ œ œ œ œ œ œD

tell me If she says

2 0 0 00 0 4

˙ œ œ œ œA

no, We'll run a -

2 24 4 2

˙ .jœD

way

0.J0


Katie DearUse E-Sus Partial Capo/Play in E

Oh Willie dear there's no use askingShe's in her room a-taking her restAnd by her side is a silver daggerTo slay the one that I love best

Oh Katie dear, go ask your fatherIf you can be a bride of mineIf he says yes, comeback and tell meIf he says no, we'll run away

Oh Willie dear, there no use askingHe's in his room a-taking his restAnd by his side is a silver daggerTo slay the one that I love best

Then he picked up that silver daggerAnd stabbed it through his weary heartSaying goodbye Katie, goodbye darlingAt last the time has come to part

Then she picked up that bloody daggerAnd stabbed it through her lily white breastSaying goodbye Mama, goodbe PapaI'll die with the one that I love best

21

&

TAB

# # 43 œ œGo

0

0

œ œ œD

wash in that

0 0 0

œ œ œG

beau - ti - ful

2 0

2

.˙D

pool

0

œ œ œGo

0 0 4

& ## œ œ œwash in that

4

2 2

œ œ œbeau - ti - ful

2

4 0

.˙A

pool

2

.˙D

The

2

Jœ .œ œri - ver of

J4 2

4

& ## ˙ œlife is

0 0

œ œ œG

flow - ing for

2 0 0

˙ œD

all Go

0

2

œ œ œwash in that

0

0 0

& ## œ œ œA

beau - ti - ful

4 4 2

.˙D

pool

0

œ

0

Go Wash in That Beautiful Pool


Use E Sus Partial Capo/Play in E

22

My father's crossed over the river,He's now in the kingdom of God,

He's now in the kingdom with the angels all 'roundGo wash in that beautiful pool

Go wash in that beautiful poolGo wash in that beautiful pool

The river of life is flowing for allGo wash in that beautiful pool

My mother's crossed over the river ...My brother's crossed over the river ...My sister's crossed over the river ...My children've crossed over the river

23

&

TAB

# # # 44 ..

..

..

..

œ œ œn œnDm C

My

Some-

old

times

hen's

eight

a

2

3 1

0

œ œ ˙nDm C

good

some-

old

times

hen

ten

2

3

0

œ œ œn œn œDm C

That's

She lays

e -

eggs

nough

for

for

the

the

2

3 1

0 0

œ œn œn ˙Dm

rail -

rail -

way

way

men

men

2 0

3 0

& ### ..

..

..

..

œ œ ˙nDm

Cluck

Cluck

old

old

hen

hen

0 0 3

œ œ ˙nC

cluck

cluck

and

and

sing

squall

0 0

3

œ œ œn œn œDm

Ain't

Ain't

laid

laid

an

an

egg

egg

since

since

0 0 3

0 0

œ œn œn ˙C Dm

way

way

last

last

Spring

Fall

2 0

3 0

Cluck Old Hen


My old hen's a good old hen She lays eggs for the railroad men

Some times 1 some times 2 Some times enough for the whole darn crew

Some times 5, some times 6 Some times 7, some times 8 Some times 9, some times 10

Plenty of eggs for the railroad men

Hen old hen where your chickens gone Down in the new ground peckin' up corn First time I saw her she cackled in the lot Next time I saw her she cackled in the pot

Cluck old hen, cluck when I tell you Better lay an egg or I'm gonna sell you Cluck old hen, cluck and squawk

Better lay an egg or I'm gonna sell you

1

Use E-Sus Partial Capo/Play in Em

24

Cluck Old Hen


Cluck old hen cluck and squeak Ain't laid an egg since way last week Cluck old hen, cluck for the men Laid one egg better do it again

Cluck old hen cluck and lay Better have an egg, I've got bills to pay

Cluck old hen, cluck and scratch Better lay an egg or I'm going for the ax

Cluck old hen, make an egg Lay one now, I ain't gonna beg Cluck old hen, cluck all night

if you dont lay an egg, it's Chicken Delight

Cluck old hen, cluck 6-10 Dow-Jones Average is down again

Cluck old hen, cluck 1-2 Soon you're gonna be chicken stew

My old hen's a good old hen. Ain't laid an egg since the Lord knows when

Says her pay don't meet her need She ain't gonna work for chicken feed

My old hen's a good old hen Crosses the road every now and then Asked her why she took that walk

She just clucked cause she can't talk

My old hen's a good old hen She lays eggs for the railroad men

Ain't no railroads left today That's why my old hen don't lay

My old cock's a good old cock Stands on the dunghill, hear him squawk

Bet that first line had you scared My old hen, she don't care

My old cow's a good old cow Gives all the milk that she knows how Sometimes one quart, sometimes two

Chocolate milk she will not do

My old rooster's a good old rooster He don't crow the way he uster Back before the gentlemen

Made chicken soup of my old hen

Hickety pickety, my young pullet She lays eggs the size of bullets When you fry them up in lard Fortunately, they're not as hard

My old hen is a good old hen Crosses the road every now and then Asked her why she took that walk She explained, "Buck buck b'cauk!"

225

&

TAB

# # C ..

..

œ œ ˙A

Sha - dy Grove

2 2 2

œ œ œ ˙D

my lit - tle love

4 2 2 0

œ œ œ œShad - y grove I

0 0 42

wG

say

4

& ## ..

..

œ œ ˙Sha - dy Grove

4 43

œ œ œ œ œD

My little love I'm

24 2 0 2

œ œ œ œbound to go a

4 42

4

wA

way

2

& ## ..

..

œ œ œ œ œD

3 3 3 34

œ œ œ ˙

24 2 0

œ œ œ œ œ œ

3 3 5 34 2

wG

4

& ## ..

..

œ œ œ œ œD

3 3 3 34

œ œ œ œ œ

3 3 3 34

œ œ œ œ

24 2 0 2

wA

42 2

4

Shady Grove


Chorus

Instrumental Introduction/Interlude

1

Use E-sus Partial Capo/Play in E

26

Shady Grove


Every time I go to town, it's always dark and cloudyEvery time I see that gal, I always tell her "howdy"

Sewed a shirt for my true love, it was neither black nor brownIt's the color of the stormy sky before the rain comes down

Wish I was in a shady grove, Sittin' in a rockin' chairAnd if those blues would bother me, I'd rock away from there

Had a banjo made of gold, Every string would shineThe only song that it would play, "Wish That Girl Was Mine"

When I was in a shady grove, Heard them pretty birds singThe next time I go to shady grove, Bring a diamond ring

When you go to catch a fish, Fish with a hook and lineWhen you go to court a girl, Never look behind

When I was a little boy, All I wanted was a knifeNow I am a great big boy, I'm lookin' for a wife.

227

&TAB

b 44 œ œ œ œ œDm

3 1

2 2 3

œ œ œ ˙2 0

3 0

œ œ œ œ œ3 1

2 2 3

œ œ œ ˙G

2 0

3

0

œ œ œ œ œDm

3 1

2 2 3

& b œ œ œ ˙C

2 0

3

0

œ œ œ œ œ

3

0 2 0

3

.˙ ŒDm

.0

Œ

Ó .œ jœGon - na

Ó .3

J3

œ .˙build me

3

.0

˙ jœ .œa log

0

J3

.3

& b œ .˙G

ca-bin

0 .0

˙ œ œon the

0 3

0

œ .˙Dm

moun- tain

2

.2

˙ ˙C

so

0

3

wDm

hgh

0

˙So

0 3

œ .˙I can

3

.0

& b ˙ œ œsee the

0 3 3

œ .˙G

coo - coo

0 .0

.˙ œas

.0 3

wDm

she

2

˙ œ œC

goes on

0

3 3


1

The Coo CooUse E-Sus Partial Capo/Play in Em

Instrumental

Verse

28

& b wDm

by

0

˙ .œ jœOh, the

0

.3

J3

œ .˙coo - coo

3

.0

˙ jœ .œShe's a

0

J3

.3

œ œ .˙G

pret-ty bird

0 0 .0

& b ˙ œ œamd she

0 3

0

œ .˙Dm

war - bles

2

.2

˙ œ œC

as she

0

0 0

wDm

flies

0

˙ .œ jœand she

0

.3

J3

& b œ .˙nev - er

3

.0

˙ œ œhol - lers

0 3 3

œ .˙G

coo - coo

0 .0

˙ œ œ'Til the

0

0 0

œ .˙Dm

4th day

2

.2

& b ˙ œ œC

of Ju -

0

3 3

wDm

ly

0

w

0


2

I've played cards up in EnglandI've played cards down in SpainI'll bet you five dollarsI'll beat you this game (chorus)

Jack of Diamonds, Jack of DiamondsI know you of oldYou have robbed my poor pocketsOf my silver and my gold (chorus)

29

&

TAB

44 Ó œœœ œœ œ

Am

Ó 0

0

1 1

2

1

œ œ œ œœ œ œ

02

0

0

1

20

œ œ œ œœœ œœ œ

02

00

0

1 1

2

1

œ œ œ œœ œ œ

02

0

0

1

22

& œ œ œ œœœ œ œ

02

00

0

1

2

0

œœ œ œ œ

œ œG

0

0

00

0

0

0

œœ œ œ œ œ œ0

0

0

0

0

00

œ œ œ œœ œ œ

Am

02

0

0

1

20

& œ œ œ œœœ œœ œ

02

00

0

1 1

22

œœ œ œ œœ œ œ

2

02

J0

0 J

1

20

œ œ œ œœœ œœ œ

02

00

0

1 1

22

œœ œ œ œœ œ œ

2

02

0

0

1

20

& œ œ œ œœœ œ œ

02

00

0

1

2

0

œœ œ œ œ

œ œG

0

0

00

0

0

0

œœ œ œ œ œ œ3

0

0

0

0

00

œ œ œ œœ œ œ

Am

02

0

0

1

20

œ œ .œ JœGon - na

02

.1

J

1


1

The Coo Coo

Instrumental Intro and/or break

Verse

H H

H

H H

H

30

& œ .˙Am

buildcoo

mecoo

1 .2

˙ Jœ .œa

She'sloga

2

J

1.

1

œ œ .˙ca -pret - ty

binbird

1 1 .2

˙ œ œonand

theshe

2 21

œ .˙G

moun -war -

tainbles

0.

3

& ˙ œ œG

soas she

30 0

wAm

flieshigh

2

˙ œ œSoAnd she

21 1

œ .˙Ine -

canver

1 .2

˙ œ œseeholl -

thears

21 1

œ .˙coo-coo-

coocoo

1 .2

& ˙ œ œas'til the

21 1

wG

shelast

0

˙ œ œday

goesof

onJu -

30

0

wAm

byly

2

˙ .œ JœOh, the

2

.1

J

1


2

Chorus

I've played cards up in EnglandI've played cards down in SpainI'll bet you five dollarsI'll beat you this game (chorus)

Jack of Diamonds, Jack of DiamondsI know you of oldYou have robbed my poor pocketsOf my silver and my gold (chorus)

It's trouble, it's trouble, it's trouble on my mindIf trouble don't kill me, I'll live a long timeShe drinks the cool water to keep her voice clearAnd the cuckoo will come again in the springtime of the year (Chorus)

31

&

TAB

# # 44 œ œLit - tle

0 2

Chorus

œ ˙ œ œD

bird - ie lit - tle

0 4 2 0

œ ˙ œ œA

bird - ie won't you

4 0 0 4

.œ jœ œ œsing to me your

.2 J0 4 2

& ## .˙ œ œD

song Got a

.0

0 2

œ ˙ œ œshort time to

0 4 2 0

œ ˙ œ œA

stayhere and a

4 0 0 4

.œ jœ œ œlong time to be

.2 J0 4 2

.˙D

gone

.0


Little Birdie

1

Use E-Sus Partial Capo/Play in E

Well I'd rather be in some dark hollow Where the sun don't ever shine Than for you to be another man's darling And to know that you'd never be mine

Little birdie, little birdie What makes you fly so high When you know that my true lover Is a-waiting in the sky

I'm a long way from old Dixie And my old Kentucky home Got no father or mother No place to call my home

Little birdie, little birdie What makes your head so red Well, after all that I been through It's a wonder I ain't dead

Married woman, married woman Why don't you settle down Your heart's like the little birdie's You're flying all around

Little birdie, little birdieWhat makes you seem so blueIt's nothing else but troubleOf, a-grieving over you

Little woman, pretty womanWhat makes you act so downYou ain't got no right to worryYou ain't got no righ to frown

Little birdie, little birdie Won't you sing to me your song You've caused me lots of trouble You've caused me to do wrong

34

&TAB

# # 44 œ ˙ œD

Don't let your

3 32

˙n ˙C G

deal go

1 3

˙ œn œD A7

down lit - tle

23 2

wD

girl

0

& ## œ ˙ œDon't let your

3 32

˙n œ œ#C G

deal go

10 1

wA7

down

2

w œ ˙ œD

Don't let your

3 32

˙n ˙C G

deal go

1 3

& ## ˙ œn œD A7

down lit - tle

23 2

˙ œ œD

girl 'Till your

0 2 4

˙ ˙G

last gold

0 0

œ ˙n œA7

dol - lar is

23 2

wD

gone

0

w


Don't Let Your Deal Go Down

Chorus

I've been all around this whole wide worldWay down in Memphis, Tennessee

Any old place I hang my hatSeems like home to me

Chorus

When I left my love behindShe's standin' in the door

She throwed her little arms 'round my neck and said,"Sweet daddy please don't go."

Chorus

Who's going to shoe your pretty little feetAnd who's going to glove your hand

And who's going to kiss your pretty red cheeksAnd who's gonna be your man

Chorus

Papa will shoe my pretty little feetAnd Mama will glove my hand

And sister will kiss my rosy red cheeksAnd it's I don't need no man

Chorus

Where did you get them high-heel shoesAnd that dress you wear so fine?Got my shoes from a railroad man

Dress from a driver in the mine

Chorus

35

&

TAB

# # 44 .œ jœ œ œD Bm

Sleep, my child, and

.0 J4 2

0

.œ jœ œ œEm A

peace at tend thee,

.2 J0 4 0

˙ .œ jœG A

all through the

2.

4 J4

.˙ ŒD

night.

.0

Œ-

& ## .œ jœ œ œD Bm

Guar dian an gels

.0 J4 2

0

.œ jœ œ œEm A

God will send thee,

.2 J0 4 0

˙ .œ jœG A

all through the

2.

4 J4

.˙ ŒD

night

.0

Œ- -

& ## œ œ œ œG

Soft the drow sy

04

0 2

œ œ œ œBm

hours are creep ing,

02 0

4

œ œ œ œEm

hill and dale in

04 2 0

.œ jœ œ œD A

slum ber sleep ing,

.4 J2 0

4

- - - -

& ## .œ jœ œ œD Bm

I am lov ing

.0 J4 2

0

.œ jœ œ œEm A

vi gil keep ing,

.2 J0 4 0

˙ .œ jœG A

all through the

2.

4 J4

.˙ ŒD

night.

.0

Œ- - -

All Through the Night

arrangement by Doofus Music 1999

While the moon her watch is keeping, all through the nightWhile the weary world is sleeping, all through the night

O'er thy spirit gently steeling, visions of the light revealingBreathes a pure and holy feeling, all through the night


36

&

TAB

# # 44 œ œ œ œD

As the black-bird

0

0

4

0

œ œ ˙Em

in the spring,

2

2

2

œ œ œ œA

on - the wil - low

0

4 2 4

wD

tree

0

& ## œ œ œ œD

Sat and piped I

0

0

4

0

œ œ ˙Em

heard him sing,

2

2

2

œ œ œ œA

sing of Au - ra

0

4 2 4

wD

Lee

0

& ## œ œ ˙D

Au - ra Lee

4 4 4

œ œ ˙F#m

Au - ra Lee

4 4 4

œ œ œ œBm

Maid of Gold - en

4 2 0 2

wD

Hair

4

& ## œ œ œ œSun - shine came a -

4 4 5 4

œ œ ˙Em

long with thee,

2

2

2

œ œ œ œA

Swal - lows in the

0

4 2 4

wD

air.

0


Aura Lee

1


37


Aura Lee

2

When the blackbird in the spring,On the willow tree,

Sat and rocked, I heard him sing,Singing Aura Lee

Aura Lee, Aura Lee,Maid of golden hair;

Sunshine came along with thee,And swallows in the air.

In thy blush the rose was born,Music when you spake,

Through thine azure eye the morn,Sparkling seemed to break.

Aura Lee, Aura Lee,Bird of crimson wing,

Never song have sung to me,In that sweet spring.

Aura Lee! The bird may flee,The willows golden hair

Swing through winter fitfully,On the stormy air.

Yet if thy blue eyes I see,Gloom will soon depart;For to me, sweet Aura Lee

Is sunshine through the heart.

When the mistletoe was green,Midst the winter's snows,

Sunshine in thy face was seen,Kissing lips of rose.

Aura Lee, Aura Lee,Take my golden ring;

Love and light return with thee,And swallows with the spring.

38

& ## œ œ œ œD

As the black-bird

23 2 3

œ œ ˙Em

in the Spring

3fr.

54

5

œ œ œ œA

on the wil - low

3 24

2

wD

tree

3

& ## œ œ œ œD

Sat and piped I

23 2 3

œ œ ˙Em

heard him sing

3fr.

54

5

œ œ œ œA

Sing of Au - ra

3 24

2

wD

Lee

3

& ## œ œ ˙D

Au ra Lee

2 2 2

œ œ ˙F#m

Au - ra Lee

5fr.

2 2 2

œ œ œ œBm

Maid of Gold - en

25 3 5

wD

Hair

5fr.

2

& ## œ œ œ œD

Sun - shine came a -

2 2 3 2

œ œ ˙Em

long with thee,

3fr.

54

5

œ œ œ œA

Swal - lows in the

3 24

2

wD

air

3


Aura Lee

339

&TAB

# # 44 œLook

0

œ œ œ ˙up, lo - ok down

2 04

2

.˙ œthat

.2

0

œ œ œ ˙lone -some road

2 04 0

.˙ œHang

.0 0

& ## œ œn œ œ œdown your head and

21

2 04

wcry

0

.˙ œ.

0 0

œ œn œ œ œ2

12 0

4

.˙

0


Look Up, Look DownThat Lonesome Road


True love, true love, what have I doneThat you should treat me so?

You've caused me to walk that lonesome roadThat I've never walked before

The longest train I ever sawWas on that Georgia Line

The engine went down at six o'clockAnd the cab went down at nine

The prettiest girl in this wide worldWas standing on behind

The whistleblew and the bell did ringThe engine rolled ahead

The train did wreck in a mile of townAnd killed my true love dead

If I had wings like Noah's doveI'f fly to my true love's door

I'd walk the porch from post to postHand down my head and cry

Look up, look down that lonesome roadHang down your head and cry

40

&TAB

b 44 ....œ œ œ œ œ œ œ œ

Dm

0 30

30 2 3

0

œ œ œ œ ˙A G

2 3 23

0

˙ ˙Dm A

0 2

œ œ ˙Am

3 0 0

& b ....

œ œ œ œ œ œ œ œDm

0 30

30 2 3

0

œ œ œ œ œA G

2 2 0 23

œ œ œ œ œDm A

3 32 0 2

œ œ ˙Dm

3 0 0

& b ....

œ œ

23

œ œ œ œ œDm

3 3 32 2

œ œ œ ˙3 1 3

2

œ œ œ œ œ

3 3 5 5 3

& b ....

œ. œ. œ. œ. œ.Am A

1.

1.

2.

2. 3.

œ œ œ œ jœDm

3 3 32

J2

œ œ œ œ œ œ

3 1 32 2 3

œ œ œ œ œA

2 2 2 0 2

œ œ ˙Dm

3 0 0

Abe's Strategic Withdrawalto a Minor Key

arr. ©1997 Doofus Music


41

&

TAB

# # 44 42 44œ œI'm a

0 2

Chorus

œ œ œ œ œD

long time trav-el-in'

0 4 02 0

‰ jœ œ œ œ œ œG

here be-low, I'm a

‰J0 0

40

40

œ œ œ œ œ œ œD

long time trav-el-in' a -

24 2 0

2 0 2

œn œ œC G/B

way from my

3 2 2

& ## 44 œ œ ˙ œ œA

home I'm a

2 0 0 0 2

œ œ œ œ œD

long time trav-el - in'

0 4 02 0


here be-low, gon-na

‰J0 0

40

40

œ œ œ œ œ œD A7

lay this old bo-dy

24 2 0 2

4

.˙D

down

.0

& ##œ œYe

0 2

Verse

Verse

œ œ ˙D

fleet - ing charms

0 4 0


of earth fare -well, your

‰J0 0

40

40

œ œ œ œ œD A7

springs of joy are

24 2 0 2

.˙ œ œD

dry My

.0

0 2

& ## œ œ ˙soul now sees

0 4 0


an - oth - er home a

‰J0 0

40

40

œ œ œ œ œ œD A7

bright - er world on

24 2 0 2

4

.˙D

high

.0

Long Time Travelin'

1


from Allison's Sacred Harp Singers and the Mill Run Dulcimer Band

42

Long Time Travelin'

2

Chorus

When I can read to my titles clearTo my mansions in the skyI’ll bid farewell to every fearAnd I’ll wipe my weeping eye

Chorus

Farewell my friends, whose tender careHas long has engaged my love

Your fond embraceI now exchange for better friends above

Chorus

In the storied history of Sacred Harp singing, the 1927-1928 recordings by J. T. Allison's ensemblerepresent a curious anomaly. For these recordings are rare instances of the convergence of twoimportant cultural movements of the southeastern U.S.-the emerging country music recording industryand the impressive tradition of singing religious folk music from shape-note tunebooks. The Allisongroup traveled from their homes in Birmingham and Moody, Alabama, to the legendary Gennettrecording studio in Richmond, Indiana. What things led them to do this is of much importance here, as is what things led many others not to.

The Sacred Harp

The music the Allisons recorded would have been sung directly from The Sacred Harp, a book first compiled in 1844 in Hamilton, Georgia. This musical volume is a shape-note tunebook, meaning that the music was printed in shape-note musical notation to aid in music reading. The Sacred Harp uses four shapes, so its music is sometimes called "fasola" music for the names of the notes of the scale, "fa-sol-la-fa-sol-la-mi-fa" (as opposed to the more-familiar "do-re-mi" seven-shape system, "do-re-mi-fa-sol-la-ti-do"). The shape-note system derives from the singing school tradition installed in eighteenth century New England whereby public singing classes were held with the purpose of improving the music in the churches. Around 1800, shape-note notation was devised-assigning shapes to the note heads to represent degrees of the musical scale-to aid in learning and reading. The movement spread south and west with the population, accumulating local styles and repertoires in the process. This practice spread widely in music publishing, so that by the mid-nineteenth century there were many tunebooks printed in shape-note notation. The shape-note system declined over the nineteenth century as the now-familiar round-note notation was increasingly adopted in church music and European art music.

J. T. ALLISON'S SACRED HARP SINGERS

43

&

TAB

b 44 œ œWhen the

0

3

˙ œ œDm

cur - tains of

0 0

3

˙ œ œnight are pinned

0 0 2

˙ œ œback by the

3 0

3

˙ œ œstars and the

0 3

0

& b ˙ œ œbeau - ti - ful

2 2 0

˙ œ œmoon sweeps the

3 0 3

wG

sky

0

˙ œ œWhen the

0

3

0

˙ œ œDm

dew-drops from

2 2 0

˙ œ œhea-ven are

3 0 2

& b ˙ œ œkissed by the

3 0

3

wC

rose

2

˙ œ œIt is

2 0 2

˙ œ œDm

there that my

3 2 0

˙# œ œA7

mem - o- ry

4 0 4

wDm

flies

0

˙

0

The Curtains of Night

ChorusGo where you will on land or on seaI'll share all your sorrows and cares

At night when I kneel by my bedside to prayI'll remember you love in my prayers

Oh upon the wing of a beautiful doveI will hasten this message of cheer

I will send you a kiss of affection and sayI'll remember you love in my prayers

Oh the angels in heaven are guarding the goodAs God has ordained them to do

In answer to prayers that I offer HimWell I know there's one waiting for you

arr©2001 Doofus Music


44

&TAB

# # 43 ....

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00

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20 4

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2 2 4

& ## ˙ œ œA

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4 2

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00

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0

Miss Rowan Davies


Use E-sus Partial CapoPlay in E

45

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