Flatpicking the 6 String Banjo

ISBN 978-0-615-25002-1
© 2008 by Steve Kaufman Enterprises, Inc
PO Box 1020 Alcoa TN 37701
800-FLATPIK or 800-352-8745 in North America
865-982-3808 Outside North America
ALL RIGHTS RESERVED. INTERNATIONAL COPYRIGHT SECURED. MADE AND PRINTED IN U.S.A.
No part of this publication may be reproduced in whole or in part, or stored in a retrieval system, or transmitted in any form
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Visit us on the Web at www.flatpik.com - E-mail us at steve@flatpik.com
Table of Contents
CD Tracks …………………………………………………………………………………………. 1
Introduction ……………………………………………………………………………………….. 3
About the Author ………………………………………………………………………………….. 6
Understanding the Notation and Tablature ………………………………………………………... 7
Performance Notes ………………………………………………………………………………… 10
Bass notes for the Fingerpicking Section …………………………………………………………. 16
The Basics of Flatpicking …………………………………………………………………………. 17
Flatpicking Songs:
Old Ground Hog – Played on the Deering Vega 6-String Senator Open Back Banjo ……………19
Roll On Buddy – Played on the Deering Maple Blossom 6-String Banjo ……………………….. 21
Salty Dog Blues – Played on the Deering Maple Blossom 6-String Banjo ………………………. 23
Blue Ridge Mountain Blues – Played on the Deering Maple Blossom 6-String Banjo …………. 26
Sally Gooden – Played on the Deering Maple Blossom 6-String Banjo …………………………. 29
The Rights of Man – Played on the Deering Vega 6-String Senator Open Back Banjo ………… 31
June Apple – Played on the Deering Vega 6-String Senator Open Back Banjo …………………. 32
New Five Cents – Played on the Deering Vega 6-String Senator Open Back Banjo …………….. 33
Soldier's Joy – Played on the Deering Vega 6-String Senator Open Back Banjo ………………... 34
Cripple Creek – Played on the Deering Maple Blossom 6-String Banjo ………………………... 35
Fallen Leaves – Played on the Deering Deluxe 12-String Banjo ………………………………… 38
Fallen Leaves – Played on the Deering Deluxe 12-String Banjo ………………………………… 39
Cluck Old Hen – Played on the Deering Vega 6-String Senator Open Back Banjo ……………... 41
I'll Fly Away – Played on the Deering Maple Blossom 6-String Banjo ………………………….. 43
Bill Cheatham – Played on the Deering Maple Blossom 6-String Banjo ………………………... 46
Drowsy Maggie – Played on the Deering Vega 6-String Senator Open Back Banjo ……………. 47
Froggy Had a Breakdown – Played on the Deering Maple Blossom 6-String Banjo …………… 48
Cumberland Gap – Played on the Deering Vega 6-String Senator Open Back Banjo ………….. 49
Rickett's Hornpipe – Played on the Deering Vega 6-String Senator Open Back Banjo ………… 51
Sally Gooden (High Part) – Played on the Deering Maple Blossom 6-String Banjo …………….. 52
Salt Creek – Played on the Deering Maple Blossom 6-String Banjo …………………………….. 53
Dark Hollow – Played on the Deering “B6” 6-String Banjo …………………………………….. 54
Will the Circle Be Unbroken – Played on the Deering Deluxe 12-String Banjo ………………... 56
Blue Ridge Cabin Home – Played on the Deering Maple Blossom 6-String Banjo ……………...58
Grandfather's Clock – Played on the Deering “B6” 6-String Banjo ……………………………..61
Gotta Travel On – Played on the Deering Maple Blossom 6-String Banjo ……………………...65
Bury Me Beneath The Willow – Played on the Deering Maple Blossom 6-String Banjo ………. 67
Fingerstyle Songs
Freight Train – Played on the Deering Maple Blossom 6-String Banjo ………………………….70
Wayfaring Stranger – Played on the Deering Maple Blossom 6-String Banjo …………………. 72
I’m a Goin’ Fishin' – Played on the Deering Maple Blossom 6-String Banjo …………………... 75
When You and I Were Young, Maggie – Played on the Maple Blossom 6-String Banjo ……… 78
Sheebeg and Sheemore (Si Bheag Si Mhor) – Played on the Maple Blossom 6-String Banjo …. 81
Banks of the Ohio – Played on the Deering Maple Blossom 6-String Banjo ……………………. 83
Make Me a Pallet On Your Floor – Played on the Deering Maple Blossom 6-String Banjo ….. 85
Deep River Blues – Played on the Deering Deluxe 12-String Banjo …………………………….. 87
Oh, Danny Boy – Played on the Deering Maple Blossom 6-String Banjo ………………………. 89
Hard Times Come Again No More – Played on the Deering Maple Blossom 6-String Banjo …. 92
Steve Kaufman’s Discography …………………………………………………… 95
The Maple Blossom 6-String
This is my personal Deering Maple Blossom 6-String
Banjo. I’ve had it since 1995 and have recorded it on
many of my CDs. You can hear it on my “Mystique”
CD on New Five Cents, on my “Circles” CD on the fingerpicked and flatpicked version of Waltzing Matilda
and on my “Bullet Train” CD on Cooley’s Reel. All
available at www.flatpik.com and on iTunes. This is an
extremely clear and strong banjo. Perfect for any style
of playing. I like to crosspick on it so the crosspickings
rolls sound like banjo rolls. There are some that cannot
believe I am not playing a regular 5-string and using
fingerpicks, but no! I use medium DR Rare Phosphor
Bronze strings on my Maple Blossom.
I played the Maple Blossom on Roll On Buddy, Salty
Dog Blues, Blue Ridge Mountain, Sally Gooden, Cripple Creek, I'll Fly Away, Bill Cheatham, Froggy Had a
Breakdown, Sally Gooden, Salt Creek, Blue Ridge
Cabin Home, Gotta Travel On, Bury Me Beneath The
Willow, Freight Train, Wayfaring Stranger, I’m a Goin’
Fishin', When You and I Were Young, Maggie, Si
Bheag Si Mhor, Banks of the Ohio, Make Me a Pallet
On Your Floor, Oh, Danny Boy and Hard Times Come
Again No More.
From the Deering Banjo Catalog:
Maple Blossom 6-String - also available in 4-string
tenor and 5-string models.
If you already play a guitar and have thought that it
would be fun to learn to play the banjo here is your instrument. Now you can play banjo with the same chords
and fingering you already know. It’s great for those
songs that would sound better if played on a banjo.
The Maple Blossom 6-String
This MB-6 is our top of the line 6-string banjo with a beautiful crisp tone and great sustain. It
has an arched hard, dense, colorful, exotic, and naturally beautiful ebony fingerboard. It also
features Deering’s own custom made six string tailpiece and bridge. These helps create a superb playing banjo for guitar players. One of the most appealing aspects of the MB-6 is its
sleek neck making it comfortable, and easy to play.
In examining older 6-string banjos, Greg Deering observed the consistent lack of good tone.
After much research he solved this mystery and now we produce the only 6-string banjos with
great sustain and beautiful tone. Many guitar players are now discovering the new sound available from playing a Deering 6-string banjo. It can be flat-picked or finger-picked equally well.
We string it with extra light acoustic guitar strings, however, it does perform well with other
string gauges. Anything you play on a guitar can be played on the 6-string banjo, the sound is
excellent.
The Vega Senator 6-String
I used The Vega Senator 6-String banjo on the following
songs: Old Ground Hog, The Rights of Man, June Apple,
New Five Cents, Soldier's Joy, Cluck Old Hen, Drowsy
Maggie, Cumberland Gap and Rickett's Hornpipe. I found
this banjo perfect for Old Time tunes, Celtic music and
traditional fiddle tunes. Because of the open back, the
Vega Senator gave me a soft, woody tone which was a
perfect sound for these songs or any plectrum playing with
straight line melodies or a person wanting to play Fingerstyle.
From the Deering Banjo Catalog:
Over 100 years of Vega tradition and Deering’s innovative
approach to banjo crafting went into the creation of this
Vega 6-String Senator model. Fashioned as a 6-string
banjo with spun brass hoop and rod tonering, a mahogany
neck with adjustable truss rod and a multi-ply rim with
dual coordinator rods, the Senator has the time-honored
Vega tone and character. The hard, dense, colorful, exotic
and naturally beautiful ebony fingerboard is inlaid with
mother-of-pearl dots. The fiberskyn head and Deering six
string tailpiece enhance the sound of this banjo, characterized as a full woody tone with beautiful sparkle of clarity
and note definition. The new Deering guitar style pegs
give the player tight and precise tuning. This open back
Vega has the ease of playability that all Deering banjos are
noted for, and the light weight sought after by many banjo
players without sacrificing sound quality and sustain.
This Vega Bluegrass Senator is what many bluegrass players are looking for, it’s a lightweight banjo, only 7 pounds,
with just the right amount of sparkle; one that beckons the
traditional player to pick it up for maximum comfort and
sound.
Vega Senator 6-String
The Deluxe 12-String
I used The Deluxe 12-String banjo on Fallen Leaves and
Deep River Blues. It is perfect for any Fingerstyle, pretty
strumming songs, folk music, acoustic rock and much
more. A very powerful sound.
From the Deering Banjo Catalog:
12-String - also available in tenor, plectrum, 5-string, and
6-string models.
If you play 12-string guitar, you won't believe the tremendous sound you get when playing the same style on
the 12-string banjo! We didn't believe it until after we
built the first one, custom for Barry Hunn, and then heard
him play it. It even took us by surprise! It is capable of a
powerful sound and presence while also able to produce
music so sweet that it seems to have been brought down
from heaven by angels.
It is tuned just like a 12-string guitar, and you use the
same chords and fingering - nothing new to learn. Tuned
EE,AA,DD,GG,BB,EE.
The 12-string banjo is built similar to a D-6 banjo but
with a Deering tailpiece and compensated bridge. The
mahogany neck shape is very comfortable and easy to
play. Diamond shaped mother-of-pearl inlays are set into
the arched ebony fingerboard. The action is excellent.
Joe Satriani played a D-12 on the song, "Rubina's Blue
Sky Happiness" on his "Extremist" CD that went Gold.
David Hidalgo played a D-12 on Los Lobos' "Kiko" CD
on the song, "Two Janes".
The Deluxe 12-String
The Boston 6-String
I played the Boston 6 String on Dark Hollow and Grandfather’s Clock. It’s a little lighter in weight than my Maple Blossom but still has that powerful, rich tone that we
are all looking for in a 6-String Banjo bluegrass style
banjo.
From the Deering Banjo Catalog:
6-String - also available in tenor, plectrum, 5-string, and
left handed models
This B-6, Boston 6-string makes an ideal recording instrument; just ask Keith Urban and the Keith Urban
Band. It’s lighter in weight due to the innovative steel rim
construction that you can also find in our Boston 5 string
banjos. In the B-6 this creates excellent note distinction,
clarity, and sparkling crispness making it one of the all
time favorites.
This B-6 is made of tropical American mahogany which
gives it its sweet, round and full tone. It has an arched
hard, dense, colorful, exotic, and naturally beautiful ebony fingerboard. It also features Deering’s own custom
made six string tailpiece, and bridge. These helps create a
superb playing banjo for guitar players. One of the most
appealing aspects of the B-6 is its sleek neck making it
comfortable, and easy to play.
In examining older 6-string banjos, Greg Deering observed the consistent lack of good tone. After much research he solved this mystery and now we produce the
only 6-string banjos with great sustain and beautiful
The Boston 6-String
tone. Many guitar players are now discovering the new
sound available from playing a Deering 6-string banjo. It can be flat-picked or finger-picked
equally well. We string it with extra light acoustic guitar strings, however, it does perform well
with other string gauges. Anything you play on a guitar can be played on the 6-string banjo, the
sound is excellent.
CD Track Sheets
CD 1
1. Tuning
2. Old Ground Hog – Slow
3. Old Ground Hog – With the Band
4. Roll On Buddy – Slow
5. Roll On Buddy – With the Band
6. Salty Dog Blues – Slow
7. Salty Dog Blues – High Part Slow
8. Salty Dog Blues – With the Band
9. Blue Ridge Mountain Blues – Slow
10. Blue Ridge Mountain Blues – With the Band
11. Sally Goodin – Slow
12. Sally Goodin – With the Band
13. The Rights of Man – Slow
14. The Rights of Man – With the Band
15. June Apple – Slow
16. June Apple – With the Band
17. New Five Cents – Slow
18. New Five Cents – With the Band
19. Soldier’s Joy - Slow
20. Soldier’s Joy – With the Band
21. Cripple Creek – Slow
22. Cripple Creek – With the Band
23. Cripple Creek – High Part Slow
24. Cripple Creek – High Part With the Band
25. Fallen Leaves No. 1 – Slow
26. Fallen Leaves No. 1 – With the Band
27. Fallen Leaves No. 2 – Slow
28. Fallen Leaves No. 2 – With the Band
29. Cluck Old Hen – Slow
30. Cluck Old Hen – With the Band
31. I’ll Fly Away – Slow
32. I’ll Fly Away – With the Band
33. Bill Cheatham – Slow
34. Bill Cheatham – With the Band
35. Drowsy Maggie – Slow
36. Drowsy Maggie – With the Band
37. Froggy Had A Breakdown – Slow
38. Froggy Had A Breakdown – With the Band
39. Cumberland Gap – Slow
40. Cumberland Gap – With the Band
41. Rickett’s Hornpipe - Slow
42. Rickett’s Hornpipe – With the Band
43. Sally Goodin – High Part Slow
44. Sally Goodin – High Part With the Band
45. Salt Creek – Slow
46. Salt Creek – With the Band
1
CD 2
1. Dark Hollow – Slow
2. Dark Hollow – With the Band
3. Will the Circle Be Unbroken – Slow
4. Will the Circle Be Unbroken – With the Band
5. Blue Ridge Cabin Home – Slow
6. Blue Ridge Cabin Home – With the Band
7. Grandfather’s Clock – Slow
8. Grandfather’s Clock – With the Band
9. Gotta Travel On – Slow
10. Gotta Travel On – With the Band
11. Bury Me Beneath the Willow – Slow
12. Bury Me Beneath the Willow – With the Band
13. Freight Train – Slow
14. Freight Train – With the Band
15. Wayfaring Stranger – Slow
16. Wayfaring Stranger – With the Band
17. Fishin’ – Slow
18. Fishin’ – Faster
19. When You and I Were Yong, Maggie - Slow
20. When You and I Were Yong, Maggie – With the Band
21. Sheebeg and Sheemore (Si Bheag Si Mhor) – Slow
22. Sheebeg and Sheemore (Si Bheag Si Mhor) – With the Band
23. Banks of the Ohio – Slow
24. Banks of the Ohio – With the Band
25. Make Me a Pallet On Your Floor – Slow
26. Make Me a Pallet On Your Floor – With the Band
27. Deep River Blues – Slow
28. Deep River Blues – With the Band
29. Danny Boy – Slow
30. Danny Boy – With the Band
31. Hard Times Come Again No More – Slow
32. Hard Times Come Again No More – With the Band
2
Fun with the 6 String Banjo
and Other 6 and 12 Stringed Instruments
Introduction
Flatpicking the 6 string banjo is similar in many ways to the guitar. They are both tuned the same. They
both fret the same. But they still have subtle differences. Some of the differences noticed are the
materials chosen to play and right hand techniques. I have given you my ideas of what works great on
the 6-string banjo. Old Time Fiddle Tunes, Celtic Fiddle Tunes, Songs and Ballads that are made up of
right hand melody rolls or “Crosspicking” and Fingerstyle materials.
There are two main sections to this book: The Flatpicking section and The Fingerstyle section. Both
sections are arranged from easiest to most difficult in order of appearance in this book. The first section
of Flatpicking songs ends at Bury Me Beneath The Willow in complete “Crosspicking” style. The
Fingerstyle section begins with the classic piece “Freight Train” and finishes up with Stephen Foster’s
“Hard Times Come Again No More”.
Let’s look at the right hand techniques needed.
Firstly, when playing rhythm, you must play lightly. The banjo is a very loud instrument and playing it
with alternating bass strum patterns works well but it should be done with half the volume and power
used in guitar. Comping chords works well too. This is when you are holding chord shapes like the F
position and strum the strings you are holding with a vamp style of play. The vamp is when the first
strum rings for its full count and then the second strum sounds short. It sounds short by strumming the
chord and then releasing the left hand fretting pressure so the chord sound cuts off quickly.
When playing the lead, I plant my right hand little finger on the top or head just under the first string.
This planted little finger momentarily comes off the top at times of strums but as soon as eighth notes
begin after the strum, the little finger plants back on the top.
I use a .73 Delrin pick (Yellow Pick) and on the internet they are called “Steve’s too thin Yellow Picks”
and can be found on my website at www.flatpik.com. I hold the pick with the tip and side of my first
finger and hold it in place with my thumb. The thumb and first finger only. The second and third fingers
hang out free and loose and the little finger supports the entire right hand mechanism on the top or banjo
head.
Now we will address right hand pick direction and alternate picking. All notes that are on the down
beats or the number beats of the measures are hit with down swings. Any note falling on the up or “+”
beat is hit with an up swing.
Let’s look at an example of the timing of notes. Turn to Old Ground Hog. Firstly it is in the Key of D.
When in the keys of G, D, and A major you will play in 2nd Position. This is when the first finger frets
the 2nd fret. Second finger hits the 3rd fret. Third finger hits the 4th fret etc. When playing in the Keys of
C, F, and E you will probably play in 1st Position. The first thing we see in this example is a strum.
Holding the 2nd, 3rd and 4th strings as written, strum down on these strings and leave the 3rd fret held for
the second note to be hit. These are both down swings. The little finger right hand will be off the top
for the first hit but as soon as the rest of the measure is played, the little finger plants on the top. The last
four notes of the measure are eighth notes and are played by alternating Down-Up-Down-Up.
3
The second measure is also a mix of quarter notes and eighth notes. This measure is played down downup down down-up. Follow the arrows and the down up rules and you’ll not have any trouble.
One of the strong points to playing the 6 String Banjo is making it sound as if you were playing a 5
String banjo with banjo rolls. We do this by crosspicking the solos. You will see a lot of crosspicking in
these arrangements. The next several examples are different crosspicking roll patterns.
Turn to Salty Dog Blues and look at measure 1 (just past the measure with the 3 “pick up notes”). Hold
an “F” position at the 3rd fret. You only need to hold down the 1st, 2nd and 3rd strings so use only two
fingers of the left hand.
Practice this measure over and over - down down-up down-up down-up.
Another common pattern is found in Blueridge Mountain Blues measure 17. This is a forward-backward
pattern. Played down-up down-up down-up down-up the entire measure.
Our next common crosspicking pattern can be found in Salt Creek, measure 9. This is a straight forward
roll. Play it over and over in 3 minute sessions until it smoothes out.
These patterns are common and can turn up on any set of three strings and the left hand holding any
chord. The pattern will be the same or similar to these so the best way to practice them is to have them
polished before you find them in the songs. You polish the rolls by doing your reps or repetitions.
Practice the patterns one at a time by playing them with an egg timer ticking away. Play them slowly.
You are not in a hurry and you don’t want to cut any corners. Play the rolls for three minutes at a time
over and over until they become second nature. Be sure to pay very close attention to the right hand
down-ups. If these are not correct, speed will never be achieved.
This book is made of three different styles of playing. Instrumentals pieces like Salt Creek, Bill
Cheatham, Cluck Old Hen, Rickett’s Hornpipe, etc.. These are fiddle tunes that are very popular to play
and make great 6 string banjo songs. Another style of play are the vocal ballads like Ground Hog,
Blueridge Mountain Blues, Grandfather’s Clock that have sections of crosspicking to emulate banjo
rolls. The third style of music herein is Fingerpicking. If you’ve never fingerpicked before, you are in
for a treat. For the most part, my style of Fingerpicking is an alternating thumb in the bass pattern. These
are like Freight Train, I’m Goin’ Fishin’ and Wayfaring Stranger. Some songs also included in this book
are more in an arpeggio melodic style like Sheebeg and Sheemor, Danny Boy and the Stephen Foster
favorite Hard Times Come Again No More.
Fingerpicking
The way I learned to fingerpick was from my big brother Mike when I was about 13 years old. He said
the thumb handles the bass notes. These are the three lowest strings. So everything that falls on these
strings will be hit with the thumb (right hand). The thumb hits the notes with a down swing. Then the
index and middle fingers hit the high three strings with the index usually hitting the 3rd string sometimes
the 2nd string. The middle finger sometimes hits the 2nd string and most always the 1st string. The index
and middle finger hit the strings in an up motion.
I want you to get used to making your right hand thumb independent of what happens on the other
strings. In order to do that, I have given you examples of the thumb work played with each chord you
will encounter in this book (See the Bass notes for the Fingerpicking Section).
Your thumb hits the bass notes almost always on the down beat notes. Practice just the bass parts for all
the songs in this book, regardless of whether it’s a Fingerpicking song or not. This way your thumb will
get trained to hit the strings it is supposed to when you see and then need to hold a chord.
When playing the Bass notes for the Fingerpicking Section, it is advised to try to hold the chord in full.
You will then see the bass notes in the chord itself. Some chords call for a left hand finger to move to an
adjacent string. Chords like C, short F chords, B7 call for left hand finger movement. You will notice
4
this when you start playing the bass patterns for these chords.
One way to look at the bass notes for each chord is to determine the roots of the chord.
The A chords (A, Am or A7) all have the root “A” on the 5th string open. When the root is on the 5th
string the bass parts go 5th string, 4th string, 6th string, 4th string in a steady alternating bass pattern. Other
5th string root chords are B, C and other movable forms of the same chords.
When the root is on the 6th string like G, E, F Barre you will alternate the bass 6th string, 4th string 6th
string, 4th string. The only chord group I haven’t described yet is the D family and the four string F
family. These chords have the root on the 4th string. Open for D and 3rd fret fourth string for F. So you
could play 4th string, 3rd string, 5th string, 3rd string but this may be too high a sound. The other way to
play this is with the 6th string and 4th string alternating. With the D chord, I sometimes hook my left
hand thumb over the 6th string, 2nd fret (F# note). In Fishin’ you will find a “Drop D” tuning. This is
when you tune the 6th string down from E to D. When playing the F chord you can either barre the chord
or hook your thumb over the 1st fret, 6th string to hold an F note and alternate the 6th string and 4th string
as described above.
Be sure to play all these patterns of bass notes for the Fingerpicking section.
Special thanks go to Greg and Janet Deering along with Carolina Bridges at the Deering Banjo
Company. They provided the B6 (Boston 6-String), Deluxe 12 String Banjo and the Vega Senator 6String Banjo for this project. I have owned a Deering Maple Blossom 6-String Banjo since the 1990’s
and love it. It has a crack (banjo term for a sharp, crisp clear sound) like a pre-war banjo. You are sure to
enjoy this set of tunes. They work well played on the 6 and 12 string banjo as well as the 6 and 12 string
guitar.
Also thanks to Elizabeth Smith for the time taken in this difficult cover photo shot.
Have fun and let me know how these tunes treat you. If you have any questions you can feel free writing
me at:
Steve Kaufman
PO Box 1020
Alcoa TN 37701
or email me at steve@flatpik.com
Visit my site www.flatpik.com to see my tour schedule, Summer Kamp schedule and more. See you
down the road somewhere.
Steve Kaufman
5
About the Author
Steve Kaufman was born into a musical family in 1957. His father was
a jazz piano player and his mother was a classically trained pianist.
Music was always around. At four Steve started plinking at the piano
and did so for several years. He then moved on to the electric guitar at
10 for a few years and put it away. Next came the cello in 5th grade
for a few years. After this Steve picked up the acoustic guitar again
and blazed right through a "Folk Guitar" method book. When finished
he thought if this is as hard as it gets it's not for him. Then his younger
brother, Will, started playing the banjo and his instructor told him he
needed a rhythm guitar player to help with his timing. So Steve then
picked up his guitar again and got into the bluegrass rhythm. One day
Will brought home a Flatt and Scruggs LP, which featured Doc
Watson on guitar, and Steve was hooked on flatpicking.
Steve practiced hard with his newfound love of music, sometimes up to 8 hours a day. At age 18
he entered the National Flatpicking Championships in Winfield, KS and made the top 10. The
following year was a wash. In 1977, Steve took 2nd place to Mark O'Connor and in 1978, at 21
years old, he returned to win the championship. Then after being barred for 5 years he returned on
the 6th year to win the 1984 championships again. Winfield bars the winner for 5 years and they
can come back on the 6th year but in 1986 they decided to open up the contest to everyone and not
bar the past years champs. Steve returned to win his goal. He became the winner and the first and,
at this writing, the only Three Time Winner of the National Flatpicking Championships. He is also
noted to have 3 consecutive wins in the Nationals because he was barred all the years he did not
enter.
Steve continues to work hard in the world of music. He began producing books and videos in 1989
after teaching private lessons for close to 20 years. His catalog of instructional materials is close to
75 items. His listening CDs and Videos number over 14. Steve began touring the world conducting
seminars, workshops, clinics and concerts in 1990 and after 5 years he and his wife, Donna, began
"Steve Kaufman's Flatpicking Camp." Every other year they have added more camps into their
agenda and now under the title "Steve Kaufman's Acoustic Kamps" they host a Fingerpicking
Kamp, Old Time Banjo, Bluegrass Banjo and Mandolin Kamp as well. They have grown into the
largest Kamps of their kind in the world with students traveling from around the world to
Maryville, Tennessee. Since 2002, Steve Kaufman and Donna Dixon have received the Gold
Award from a reader's poll in Acoustic Guitar Magazine for running the "Best Workshops,
Seminars and Camps." Since 1990 Steve has developed the reputation of being the "World's Guitar
Instructor."
Steve stays busy being a husband and father, running his Kamps, tour schedule, writing books and
recording videos and CDs (see www.flatpik.com), as well as owning and operating The Palace
Theater in downtown Maryville - the area's premier acoustic venue as well as an espresso bar (See
www.palacetheater.com).
6
Understanding Tablature and Timing
Tablature is the number system that makes playing a stringed instrument a little easier and faster in the beginning. You will see
below there are two staff lines. The first with dots and the second with numbers. The staff with the numbers is the tablature or TAB
line. You will see six horizontal lines. From the top line to the lowest line they represent the six strings on the guitar or 6 string
banjo. The top horizontal line is the high E string. The next is the 2nd string or B string down to the sixth horizontal
line representing the low E string. The numbers on the stings (horizontal lines) represent the frets to be held. A Zero is an open
string. A 1 would be the first fret etc. Just count down through the horizontal lines to the line with the number on it. Find the fret to
be hit and hit away!
You will occasionally see numbers between the note staff and the TAB staff. These numbers represent left hand fingerings.
All the notes in the top line are Quarter Notes. They represent one beat each. There are twelve evenly spaces notes
in this line of music, count to twelve to yourself.
Did you notice you did not stop or speed up or slow down?
& 44 œ
1
1
œ
œ
œ
0
0
0
2
œ
œ
œ
œ
2
2
2
2
3
œ
œ
œ
œ
0
0
2
0
These notes should be played just as evenly as counting to yourself. All quarter notes are hit with a down swing
and are played right on top of the beat.
0
Measure 4 is made up of all quarter notes. Notice the 1+ 2 + written between the notes and the tablature. This is how your
"count" should look. You will hit these quarter notes when you say the number. By saying the "+" (and) between the
numbers, you will space out or "time" your notes correctly. You can't hit the next note until after you say "and" . Then
hit the next note when you actually say the next number.
Measure 5 is made up of a combination of eighth notes and quarter notes. The eighth notes are beamed together and
represent notes that are played twice as fast as quarter notes. Eighth notes ALWAYS alternate down on the "numbered"
beat and up on the "and" beat. Start counting to yourself and then hit measure 5. Keep your counting steady and play
measures and 7. Watch the arrows - they represent your right hand pick direction. Remember that eighth notes
always alternate down and then up if they start on a down or number beat. The "and" beats are always hit up.
& œ
œ
œ
œ
1+
2+
3+
0
0
0
4
4
œ œ œ œ œ
œ
4+
1
+
2
+
3+
4+
1
+
2
+
3
+
4
+
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
5
6
œ œ œ œ œ œ œ œ
Meaures 7 through 12 are made up of two measure runs that you will see quite often. It is called the Lester Flatt run.
I have written the run for G, C and D. You will notice slight variance between the picking parts or right hand's job of each run.
It can be played many ways, so get used to hitting it these ways. You must also be aware of hitting the down ups correctly or you will
get out of time and crash. The 4th to the 5th notes are definitely down-ups even though you are changing strings.
BEWARE of this area. Hit it down up and don't get lazy.
Measure 9 has a hammer on in it. A hammer on is represented by a slur or crecent line between two notes. This means that the pick
will hit the first note but the left hand will be responsible for sounding the second note. You hammer your left hand finger on to the
string very sharply and you will produce the second notes sound. Watch out for the arrows or the right hand when playing
through this measere.
7
&
7
7
G
œ
3
œ #œ œ œ œ œ
0
1
0
2
2
&œ
œœ
œœ
œœ
œœ
œœ
œœ
1
0
1
0
2
0
1
0
2
0
1
0
2
C
10
10
0
G
8
œ
0
œ
œœ
œ
œ
œœ
œ
œ
œœ
œ
3
0
0
0
3
0
0
0
3
0
0
0
9
C
œ #œ œ œ œ œ
œ
0
3
D
2
0
0
1
0
2
2
0
œœ
œœ
2
3
2
0
2
3
2
0
2
3
2
0
0
0
2
œœ
œœ
12
œ nœ #œ œ œ œ
0
# œœ
œ œœ
D
11
œ
1
Measures 13 and 14 represent a roll pattern called Cross Picking. This pattern is a motor skill that should be
developed through repetition. Learn the pattern and be aware that it can come up in a song to help fill out an
otherwise empty sounding measure. Play this roll steadily and pay close attention to the arrow markings for the
right hand.
&œ
13
13
1
0
œ
+
0
œ
2
œ
œ
+
3
0
0
0
œ
+
œ
4
0
œ
œ
+
1
0
0
œ œ
14
+
0
0
œ
œ
œ
2
+
0
0
3
+
œ œ
4
+
0
0
0
0
Measures 15 and 16 makes up another short little run for you to practice.Watch out for the timing and the arrows.
C
C
& œ
15
15
1+
1
œœ
œœ
œ
2+
0
1
0
2
3
œ
œ
3
+
2
0
œ
4
2
œ
+
0
8
œ
1+
œœ
œœ
œ
2+
œœ
œœ
œ
3+
4+
3
0
1
0
2
3
0
1
0
2
3
0
1
0
2
3
16
œœ
œœ
œ
Sometimes when I write out chords, I don't write out the entire chord. The measure always has a chord symbol
over it but the chord may not be written in its entirety. The reason is that I don't want your strums to sound
forced or for you to be over conscious of the strum. It should sound forceful with dynamics but it is not
necessary to hear every string of the chord. This is why instead of writing a 6-string G chord, I write a 4 string
G chord. You should aim for at least the four highest strings and not worry too much about hitting the last two
bass strings. They will ring and vibrate from "sympathetic vibrations" and still be heard. You will also
occasionally hit the low strings and this is fine. Just don't try to hear every note of the chord or it will
sound too forced.
G
C
C
G
=
=
œ
& œœœ
œœ
œ
œœ
œ
3
0
0
0
2
3
3
0
0
0
17
17
œœ
œœœ
œœ
œœ
0
1
0
2
3
0
1
0
2
18
Measures 19 and 20 include eighth notes with hammer ons and pulls. You should practice counting as you hit
each note. Pay special attention to the arrows and you should be fine and sounding like a pro in no time. This run
is used as a "C" run tag. A tag is a term for ending. You can either end the solo, phraze or song with this run
provided of course you are ending in the key of "C".
C
G7
C
&œ
œ
1
+
19
19
1
œ bœ nœ
2
2
+
0
œ bœ
3
1
+
0
2
œ
4
20
œ
+
1
0
3
œœ
œœ
œœ
œœ
0
1
0
2
0
1
0
2
Measures 21 and 22 include slides. These are marked by a straight line slash either leading up or down.
This depends on whether the note moves up or down. Sometimes I will write a slide at the beginning of a phrase
and there is no written starting point. Usually a slide will begin 2-3 measures before the target - depending
upon how much gusto you have. As you hit the slide, leave the finger pressure on the string and the slide will
sustain or ring out it's entire alloted amount of time.
21
&œ
œ
1
+
3
5
21
œ
œ
œ
2
+
3
3
5
3
œ
œ
œ
+
4
+
5
3
1
œ
22
1
2
9
œ bœ nœ
+
0
2
+
1
2
œ
3+4+
3
Performance Notes for
Fun With the 6-String Banjo and other 6 and 12 Stringed Instruments
Old Ground Hog
When playing in the Key of D, you should set your left hand in 2nd Position. This means the 1st finger
fret the 2nd fret, 2nd finger frets the 3rd fret and so on.
Start off with this song with the 1st and 2nd finger in place on the 3rd and 4th strings respectively. Strum
the 4th, 3rd and 2nd string in a slower than a regular strum fashion. You will hear each string played
instead of hearing all three at once. This makes an “Old Timey” sounding strum.
Measures 4, 7 and 8 also have these strums. In these measure hold the full chord as you normally would.
Watch the right hand down ups – they are marked with arrows.
Roll On Buddy
Take it slow and be aware of the down ups in the eighth notes. They barrel along pretty quickly. Try to
count 1+2+3+4+ as you play. Your right hand follows the count and each time you say “+” you should
be hitting an up swing as well.
Salty Dog Blues
Take a look at the left hand fingerings.
Measure 1: Hold an F position at the third fret. This is now a G chord. We are only hitting the 1st, 2nd
and 3rd strings in this measure so only the index finger and 2nd finger need to be used on the left hand.
You should at this point be holding everything needed for the measure. The work is in the right hand. By
now I hope you’ve played your rolls as described in the Understanding Flatpicking the 6-String
Banjo section. You will see the next measure shows the “C” note hit on the 3rd string 5th fret. This is an
easier way instead of jumping back to the 1st fret for the “C”.
Measure 3: Hold the 3rd and 2nd string of an A chord and play the roll pattern. Those are the most
difficult measures because of the speed of the rolls. Practice crosspicking!!!
Salty Dog Blues variation
Measure 10: Using the fingerings marked; hold the three strings down to start the measure. Hold the
chord through the next measure and use fingerings as noted.
Measure 12: Hold a “D” position at the 9th fret and crosspick the A7 measures.
Measure 14: Hold the same two finger “F” position chord as in measure 1. This is now a “D” chord.
Play the roll and then play it out to the end. Use the fingerings marked.
Blue Ridge Mountain Blues
Scan through the arrangement and look for measures with repeating patterns like measure 1, 5, 9, 13.
These are crosspicking measures. The other measures on the page are single line runs that are wrapping
around the melody.
Measure 17: This begins the chorus and I have changed the feel of the piece to more driving,
crosspicking rolls. Watch the down ups.
Sally Gooden
This is a popular jam tune. It is basically four measures and repeat for the verse and the same for the
chorus. This version is great for the finger work of a series of 2nd and 4th frets in the first part. It is a little
confusing if you are not familiar with the song. It seems like there are too many 2’s and 4’s. Listen to
the CD many times before starting this great tune. It’s a real Old Time tune and the lyrics are only for
the first part.
10
The Rights of Man
This hornpipe is one of my favorites. It can be played anywhere from a slow lope to a full speed fiddle
piece at 230 beats per minute and sound pretty all along the way. The tricky part will begin at measure 9,
the 2nd ending. You start a series of position jumps. Use the fingerings marked and it will be easier than
you think. We use the open strings to change positions. The open string gives us a little more time to
move up or down the neck.
June Apple
Another very popular tune played here in open A as opposed to playing it in G position with the capo at
the 2nd fret. I find it has more openness and ringing tones this way.
In the Key of A as in the Key of D, you will be in 2nd position. The 1st finger, left hand, hits the 2nd frets,
2nd finger the 3rd fret and so on. There is not much more to describe here. Have fun.
New Five Cents and Soldier’s Joy
Both of these tunes are played in the Key of D. Remember to play in 2nd position. Watch out for the
down ups on the eighth notes and all quarter notes are hit with a down swing.
Cripple Creek
This is a full blown, bonifide banjo tune. We are going to emulate the rolls and slides that the banjo
uses.
The Pick-Up Note: This is a one beat slide from the 2nd fret to the 3rd fret. Be sure not to rush the slide.
Measures 2 and 6: Hold the three strings as written using the fingers marked.
Measure 9: Using the fingerings as marked, slide quickly from the 3rd to 4th fret. These are sixteenth
notes into eighth notes. If you are having trouble with the timing here, start on the 4th fret with the 2nd
finger and also hold down the 1st string 3rd fret. Play the four notes leaving off the 3rd fret and slide.
These four eighth notes will be steady and give you an idea how it should time out. When you are used
to the sound of the four note roll, try sliding into the 4th fret as written. Use the down up arrows as
marked. The slide is so fast that it is actually heard between the down-ups.
Cripple Creek variation – The High Part
Now we have some fun. This is the same arrangements that banjo players would use for the first section.
Use the fingerings marked and you should have no trouble.
Fallen Leaves – First Version
The tricky part to this arrangement is strumming the chord and leaving the chord ringing as long as
possible. Don’t strum the chord and release right away. It needs to ring. Also you will notice the chord
written in notes and tab is the chord written above the measure. Be sure to only strum the strings that are
written. We are strumming the chord to the melody note and not past it.
Fallen Leaves – Second Version
This is a little more complicated. We have rolls and crosspicking patterns along with single note melody
runs. Be sure to hold chord shapes when needed. Like in measures 1, 2, 3, 6, 9, 10 and 11.
Cluck Old Hen
This is a great Old Time Tune and will quickly become one of your favorites. There are many hammer
ons and pull offs in this arrangement. Watch out for the down ups. They can be a little confusing.
11
Measure 1: This is similar to most of the hammer on measures. Use the 2nd finger to hammer onto the 4th
string and use the 3rd finger for the 3rd string note. If you can picture or hold an Am chord you will see
these would be the fingers you use to hold the chord. The first note (hammer on) is a down swing. The
next two notes are down up.
Measure 4: I have marked the down up arrows for this pull off.
I’ll Fly Away
This is a great arrangement played with many of the same rolls that a banjo would use.
Measure 1, 2, 9, 10: Can be played either by holding the 1st and 2nd strings with the index finger and the
2nd finger hits the 4th fret note. Or use the 2nd finger on the 2nd string, 3rd finger on the 1st string and the
4th finger on the 3rd string 4th fret. The rest of the work is done with the right hand.
Measure 14: This is another bonifide banjo roll. After the open 4th string, hit the 2nd to the 3rd fret
hammer on with the 1st and 2nd fingers with a down swing. Then immediately hit the 2nd string again
with an up. This will give you the 16th note to eighth note timing. Leave the 2nd finger on the 2nd string
and put the 3rd finger on the 1st string, 3rd fret. Play through to the slide on the 3rd string and use the 1st
finger to slide from the 3rd to 2nd fret. This is a lot of explanation for a run that goes by in ½ a second,
huh?
Measure 17: This begins the chorus. Use the fingerings marked. Hold each grouping of fingerings for
the entire four note roll.
Measure 31: Hammer on in the middle of the nest of eighth notes – watch the two ups in a row.
Bill Cheatham and Drowsy Maggie
These two wonderful fiddle tunes should come to you pretty quickly. Bill Cheatham has all the fingering
markings illustrated for you in the difficult sections.
Measure 10 and 11: Hold the fingerings for each 4 note block as a chord.
Drowsy Maggie: Hammer-on quickly with a down swing and then hit the following note with an up.
Play in 2nd position.
Froggy Had a Breakdown
The first note in this arrangement is an eighth note following on an “+” beat. Therefore it is a quick up
swing to a down beat note.
Measure 1: The 3rd finger is holding the 1st string, 3rd fret while the 1st finger hammer ons from the 2nd
fret to the 3rd fret. Repeat. You will note the 3rd “D” on the 2nd string is tied to the 2nd “D”. This tied note
hold through the 3rd beat of the measure and the next note hit is on the “+” of the 3rd beat of the measure.
It is hit with an up. This is the only real section of difficulty in this arrangement though the down ups
have to be correct in order to get the speed of the banjo players of the world. This author has used this
arrangement to play faster than a three finger banjo player.
Cumberland Gap
This is a pretty tricky piece but I am sure you will get the hang of it.
Measure 1: You are now used to this 16th note hammer on down swing to the up swing 8th note.
Measure 2: Slide with the 2nd finger from the 2nd to 4th fret and leave it ringing while you set the 1st
finger across the 2nd and 1st string 3rd fret. Leave the 1st finger barring the 1st and 2nd string and use the
3rd finger to then hammer on twice to the 5th fret 2nd string. You will see this measure repeating later.
Measure 9-16: Leave the 1st and 2nd finger fretting the 7th and 8th frets throughout this section and the
little finger and ring finger play as needed. Try to accent the 7th fret when you hit it. It will add more
drive to this section.
12
Rickett’s Hornpipe
Use the fingerings marked and you shouldn’t have any trouble.
Sally Gooden – High Part
The first section is just the way you will hear the banjo play it. Quite a challenge and fun to play. As you
play through this arrangement, just be sure to use the fingerings marked and you should sail through this
one.
Salt Creek
Plenty of 16th note hammer ons and pull offs for you in this arrangement. Watch the arrows and play it
slow a few times through.
Measure 9, 11, 13: Hold the 1st two fingers of and “F” chord shape and you will crosspick through the
measure with the right hand. Use the suggested fingerings.
Dark Hollow
We will be using the forward roll that we worked on in the introduction to the book. You should be a
master of this pattern now and measures 1, 2, 5, 6 and 14. Take care in measure 7 with the hammer on
and two ups in a row.
Will the Circle Be Unbroken
Blue Ridge Cabin Home
These tunes are loaded with crosspicking. You should be comfortable with the rolls and the positions by
this point. If not go back 5-6 songs and take a little more time with them.
The end plan is to have everything memorized, so there is no need to be in a hurry.
Grandfather’s Clock
There are a few new areas to look at. They are: Crosspicking with an open string ringing in the middle
of the roll and harmonics.
Let’s get started.
Measure 1: Hold the 3rd finger on the 4th string 5th fret and the 1st finger on the 2nd string 3rd fret. Start
the roll Down Up Down and on the Up swing you will change to the 4th fret 4th string.
Measure 2: You have the same syllables of notes. Hold a D7 chord and on the up swing take the 2nd
finger off the 3rd string and hit the open. Then replace the 2nd finger at the end.
This type of roll will maintain throughout the arrangement. Cool roll huh?
Measure 15: Watch the down ups and the fast hammer on pull off in the middle of the measure.
Measure 35: This is where the harmonics begin. To play a harmonic, place the left hand 2nd finger
fingerprint area on the 3rd string 12th fret. We are referring to the actual metal of the 12th fret and not the
block of wood usually called the 12th fret. Place the fingerprint on the string and notice not to push hard.
If you see the string bend, you are pushing too hard. Strike the 3rd string and quickly, after striking,
remove the fingerprint from the string. If you center your fingerprint over the 12th fret-metal you will
hear a bell-like tone. This is a harmonic and it takes a little practice to get them strong and clear.
Notice in the measure the “diamond” over the notes. This is the harmonic sign. The notes are G and D.
They are played harmonic style at the 12th fret on the 3rd and 4th string.
That is why you see the note as a G but the tab says 12th fret. Strike the harmonic and let it ring for two
beats. You will hear the chimes of the clock.
Measure 38-39-40: You will play the same style of harmonics at the 12th fret.
13
Gotta Travel On
Here we have the same type 16th note rolls as before. Watch for the down ups as they are marked. These
rolls end a little differently. They end with an eighth note hammer on pull off.
Measure 3: You will see a little different roll ending with a two ups in a row swing. Follow the arrow
markings.
Bury Me Beneath the Willow
This is our final plectrum or flatpicked song. It is loaded with crosspicking, hammer ons, pull offs, slide
and more right hand tricks. I have marked the right hand picking in the places I thought most
treacherous. You should be used recognizing the left hand fingerings in the chord shapes. Keep in mind
that when you see a repeating pattern of strings and notes that you should be holding a short, 3 or 4
string chord. Be on the lookout throughout this piece and have fun with it.
Freight Train
This is the first of our Fingerstyle songs. Freight train is a great place to start. I trust you practiced the
alternating thumb movements by itself, all the way through this book. Just playing the bass lines with
the thumb for every piece in this book and any other book you have that has chords written over the
measure. The more you practice the bass parts, the easier a style it is to play.
Important note: The notes/tab with the stems facing down are hit with the thumb (right hand) and the
notes/tab with the stems going up are hit with the index, middle or ring finger. I usually use the index
and middle fingers only.
Hold the chord shapes for all the C measures. The G chords just require the 6th string 3rd fret to be held
and then the other unused fingers will play all the melody notes.
Wayfaring Stranger
You shouldn’t have much trouble with the first part.
Measure 17: The chorus begins here. Use the left hand fingerings as marked for the F measures.
Fishin’
This tune is in “Drop D” tuning which means you are to tune the low E string two fret lower to low D.
This is common when playing in the Key of D.
I will walk you through the measures in the beginning.
Be sure to play the bass notes and melodies one beat at ta time. Meaning play what you see written for
one beat at a time and play both parts, bass and melody, together.
Measure 1: 1st finger on the 1st string and 3rd finger on the 2nd string will start this piece off. Use the 4th
finger for the 7th fret 1st string notes.
Measure 2: The pull off is hit with the 2nd to the 1st finger.
Measure 3: 5th fret 6th string (G) notes are held with the 3rd finger. The 1st finger will play the melody
note.
Use the above examples to play through the rest of the song. You should be ok finding the rest of the
fingerings based on what you now have learned in this piece.
When You and I Were Young, Maggie
Measure 7: This is the first time we have come across this chord shape. It is a C7 chord moved up two
frets. This makes the shape a D7. Play as you would a C chord with the alternating bass.
Measure 17: 1st finger barres the 1st, 2nd, 3rd string. 2nd finger frets the 6th fret, ring finger frets the 7th fret
and 4th finger frets the 8th frets. This looks like a C chord with the last three fingers.
Measure 18: It says F but the left hand will actually hold a Dm7 barre shape. It is the same fingerings as
measure 17 but the 4th finger is not holding the bass note.
14
Si Bheag Si Mhor
This tune has a different style of flow. There is a lot of chord shape holding in this arrangement. As with
playing most waltzes, sustain is the key to making this song sound smooth and flowing. Hold the chord
shapes whenever possible and hold the chold as long as possible.
Banks of the Ohio
Here is another arrangement in Drop D tuning. You should be used to the chord positions now. Have fun
Make Me a Pallet On Your Floor
This is our first tune playing the F chords and hooking the left hand thumb over the top to fret the 6th
string 1st fret.
Measure 6: With the thumb hooked over the 6th string and the rest of the hand holding an F shape, the 4th
finger hits and bends the 2nd string 3rd fret.
You will also come across several measures that have either a hammer on or a pull off bridging between
them. Be careful of the timing of these measures. Listen to the CD over and over to hear the timing.
Deep River Blues
This is mostly a pattern performance. The first three measure use the same right hand pattern. Play the
first measure over and over until it smoothes out. Then it is just a matter of holding the different chord
position.
Measures 1, 2, 3: Hold all the notes written in the measure throughout each measure
Measure 4: Hit the 2nd and 5th strings open then hold an A7 chord but at the 1st fret. When you hit the 1st
fret you should have the 4th string held as well. Hit the first fret and slide the A7 shape into the 2nd fret.
The little finger plays the 1st string notes.
Oh, Danny Boy
This arrangement should flow nicely for you. Scan through the piece and see where you will need to
hold down chord shapes and multiple fingerings. It is mostly played out of chord shapes and positions.
Remember – sustain.
Hard Times Come Again No More
We have come to the end of this preview into the fun you can have with the 6-String Banjo and any 6
and 12 stringed guitar tunes instrument.
This is the perfect song to end with. I am sure you will fall in love with this melody as I have. You
should know all the positions and fingerings at this point so have fun with this song and let me know
how it treats you.
Enjoy!
15
Fingerpicking Bass Notes Arr. by Steve Kaufman
& 44
A, Am and A7
œ œ œ œ
1
2
0
&
5
(B and Bm see measure 10)
2
2
0
œ
#œ
œ
œ
œ
œ
0
2
2
0
œ
œ
2
3
œ
œ
œ
2
2
3
0
(B and Bm or any Barre chord
with the root on the 5th string
G, Gm, G7
3
1
œ
0
œ
2
3
2
2
3
1
œ
œ œ œ œ
F, Fm, F7 using a
4 string F shape
œ
0
F Barre or F with
thumb on 6th string
2
3
E, Em, E7
œ
œ
1
2
D using thumb on 6th String
2
8
1
D, Dm, D7
œ œ œ œ
œ #œ #œ œ
0
&
C and C7
B7
œ
œ
0
œ
0
3
3
16
œ
2
#œ
#œ
4
œ
4
2
Flatpicking the 6 String Banjo
Flatpicking the 6 string banjo is similar in many ways to the guitar, but there are also some differences. Some
of the differences noticed are the materials chosen to play and right hand techniques. Let's look at the right
hand techniques needed.
Firstly, when playing rhythm, you must play lightly. The banjo is a very loud instrument and playing it with
alternating bass strum patterns works well but it should be done with half the volume and power used in guitar.
Comping chords works well too. This is when you are holding chord shapes like the F position and strum the
strings you are holding with a vamp style of play. The vamp is when the first strum rings for its full count and
then the second strum sounds short. It sounds short by strumming the chord and then releasing the left hand
fretting pressure so the chord sound cuts off quickly.
When playing the lead, I plant my right hand little finger on the top or head just under the first string. This
planted little finger momentarily comes off the top at times of strums but as soon as eighth notes begin after
the strum, the little finger plants back on the top.
I use a .73 Delrin pick (Yellow Pick) and on the internet they are called "Steve's too thin Yellow Picks" and can
be found on my website at www.flatpik.com. I hold the pick with the tip and side of my first finger and hold it in
place with my thumb. Thumb and first finger only. The second and third fingers hang out free and loose and the
little finger supports the entire right hand mechanism on the top or banjo head.
Now we will address right hand pick direction and alternate picking. All notes that are on the down beats or the
number beats of the measures are hit with down swings. Any note falling on the up or "+" beat is hit with an
up swing.
D
A
Ex. 1
from Old Ground Hog
& 44 œœœ
œ
#œ
œ
2
1
2
1
2
3
2
0
3
2
3
œ
œ
1
0
2
Let's look at the first example (above). This is measure one of Old Ground Hog. Firstly it is in the Key of D.
When in the keys of G, D, A major you will play in 2nd Position. This is when the first finger frets the 2nd fret.
Second finger hits the 3rd fret. Third finger hits the 4th fret etc. When playing in the Keys of C, F, E you will
probably play in 1st Position. The first thing we see in this example is a strum. Holding the 2nd, 3rd and 4th
strings as written, strum down on these strings and leave the 3rd fret held for the second note to be hit. These
are both down swings. The little finger right hand will be off the top for the first hit but as soon as the rest of
the measure is played, the little finger plants on the top. The last four notes of the measure are eighth notes and
are played by alternating Down-Up-Down-Up.
17
One of the strong points to playing the 6 String Banjo is making it sound as if you were playing a 5 String
banjo with banjo rolls. We do this by crosspicking the solos. You will see a lot of crosspicking in these
arrangements. The next several examples are different crosspicking roll patterns. These patterns are common
and can turn up on any set of three strings and the left hand holding any chord. The pattern will be the same or
similar to these so the best way to practice them is to have them polished before you find them in the songs.
You polish the rolls by doing your reps or repetitions. Practice the patterns one at a time by playing them with
an egg timer ticking away. Play them slowly. You are not in a hurry and you don't want to cut any corners.
Play the rolls for three minutes at a time over and over until they become second nature. Be sure to pay very
close attention to the right hand down-ups. If these are not correct, speed will never be achieved.
Roll Pattern 1
Simulates a "Cripple Creek" roll
on the Banjo. Count from 1 to 8 in
your head. Notice that you don't
hesitate during your count.
Crosspicking is the same. Steady
picking and practice will perfect
this art form. Watch the down-ups
&œ
0
0
0
&œ
Roll Pattern 2
This pattern also uses alternate
picking with the right hand.
Remember: ALL Eighth notes
alternate pick direction
Down-Up. This pattern simulates
the banjo's Forward Roll.
œ
œ
œ
œ
0
œ
0
œ
œ
0
0
œ
0
œ
œ
0
0
œ
œ
œ
0
0
0
œ
œ
œ
0
œ
0
0
œ
0
0
0
0
Roll Pattern 3 - A two measure forward roll.
&œ
0
œ
œ
œ
0
0
0
œ
0
œ
œ
0
0
œ
0
œ
0
œ
0
œ
0
There are several other crosspicking patterns found in this book. They are variations on these themes. Be sure
to pay close attention to the right hand down-ups. Practice with your egg timer and do your reps!
18
Old Ground Hog
Key of D
## 4 . œ œ œ œ œ œ
& 4 . œœ
D
Arr. by Steve Kaufman
œ œ Gœ œ œ
œ œ œ œ œ œ
A7
D
D
1
Way down
.
.
&
##
œ
D
3
2
0
yon - der
3
œ
2
œ
A7
3
in
0
the
forks
2
3
œ œ
of the branch
3
œœ
œ
œ
old
sow
2
3
2
2
D
3
Way
2
3
2
œ œ œ
down yonder
5
5
3
œ œ œ œ œ
A7
D
in
the
3
3
œ
4
forks
5
# # ˙˙
˙
&
of the branch
5
0
˙˙˙
˙
The
3
0
œ
A7
Old
ground
hog.
2
3
2
0
2
2
2
3
7
0
D
D
1
whist - les
œ
œ
3
and
lit - tle pigs
2
œ
3
D
.. œ
2
0
3
dance
0
2
œœ
œ
œœ
œ
3
2
0
3
2
0
hog.
0
2
19
2
.
.
3
3
Old Ground Hog
Way down yonder in the forks of the branch
Way down yonder in the forks of the branch
The old sow whistles and the little pigs dance
Old ground hog.
Well come on Grandpa get your dog
Come on Grandpa get your dog
We're going up the holler to catch a groundhog
Old ground hog.
Well yonder comes Jimmy with a ten foot pole
Yonder comes Jimmy with a ten foot pole
Twist that groundhog out of his hole
Old ground hog.
Well come on Pappy bring your gun
Come on Pappy bring your gun
We got that groundhog on the run
Old ground hog.
Well yonder comes Sally with a snicker and a grin
Yonder comes Sally with a snicker and a grin
Groundhog grease all over her chin
Old ground hog.
20
Roll On Buddy
Key of G
# 4
& 4 œ œ œ
0
2
G
Roll
0
4
on
0 0 0
# œ œ œ œ œ œ
&
Roll
1
1
bud - dy
1
3
0
1
1
&
13
#
1
roll
so
1
3
1
G
œ œœœ œ
roll
0
on
0
0
0
2
0
2 0
2
0
slow
3
on.
0
2
4
0
0 2
3 0
2 0
roll
3
1
You
3
3
0
3
1
0
2
0
œ œ œ œ œ œ
G
if
you
3
0
knew what
3
3
0
3
0
0
0
2
0
4
21
2
0
2
0
3
I
know
2
0
2
0
œ œ œ œ
G
0
2
G
œ œ œ œ œ œ œ œ œ œ
œ œœœœ œ
bud - dy
roll
on.
0
0
2
G7
G
2
0
on.
D7
0
0
œ œ œ œ œ œ œ œ œ œ œ
C
0
G7
G
œ œ œ œ
C
would - n't
0
2
roll
œ œ œ œ
# œ œ œ œ œ
&
9
bud - dy
C
on
1
G
œ œ œ œ œ œ œ œ œ œ œ bœ œ œ œ œ œ œ
œ
œ œœœ œ
C
5
G
Arr. by Steve Kaufman
0
3
so
0
0
2
Roll On, Buddy
Roll on, buddy, roll on
Roll on, buddy, roll on
You wouldn't roll so slow
If you knew what I know
So roll on, buddy, roll on
I'm going to that east pay road
I'm going to that east pay road
I'm going to that east, I'm going to the west
I'm going to the one that I love best
My home is down in Tennessee
My home is down in Tennessee
In sunny Tennessee, that's where I want to be
Way down in sunny Tennessee
I've got a good woman just the same
I've got a good woman just the same
Got a woman just the same, and I'm gonna change her name
I've got a good woman just the same
22
Salty Dog Blues
Key of G
# 4
& 4 œ œ œ œ
œ
œ
œ
œ
œ
œ
G
.. œ
Standin'
on
Let
me
Left hand Fingerings 2
0
&
3
#
0
2
.
.
0
œ
2
4
big
hole
in
I
won't
be
your
2
2
0
2
# œ œ œ œ
œ
&
D7
salt - y
dog.
be
your
salt - y
dog.
0
0
0
2
0
2
0
A
salt
Or
bottom
of
my
shoes.
man
at
all.
2
2
23
-
y
dog.
3
2
2
5
4
4
0
Hon - ey,
let
me
Hon - ey,
let
me
3
1
3
3
G
..
œ
œ
œ œ œ
w
2
0
3
0
0
œ œ œ œ œ
œ
2
œ
low - down blues.
G
0
œ
D
œ
1
œ
3
3
œ
œ œ œ œ
œ
your
1
œ
0
œ
the
1
4
G
be
1
0
2
2
3
A7
E7
your
1
3
the
with
be
1
4
great
2
6
the corner
œ #œ œ œ œ œ
A7
Arr. by Steve Kaufman
2
0
.
.
3
3
œ œ œ œ œ
œ
# .
& .
Salty Dog variation
œ œ œ
œ
#œ
4
3
2
E7
G
œ
œ
œ œ
œ œ
œ
A7
10
3
.
.
&
1
2
3
10
12
1
10
12
12
3
3
12
# œ #œ œ œ œ
œ
10
12
12
A7
1
1
3
9
12
10
9
2
1
9
9
3
10
2
1
9
9
œ œ
œ
œ œ
œ
D7
œ
œ œ œ
œ
1
1
1
1
1
2
1
4
10
8
7
7
8
7
D
13
3
10
&
# œ
G
2
1
9
9
3
4
3
10
12
10
10
œ œ œ œ
œ œ
16
2
2
8
8
0
3
1
3
1
1
10
G
1
œ
2
11
œ
1
10
œ
2
0
2
œ
G
.. œ
2
2
3
0
24
0
12
.
.
0
10
Salty Dog Blues
Standin' on the corner with the low-down blues
A great big hole in the bottom of my shoes
Honey, let me be your salty dog
Let me be your salty dog
Or I won't be your man at all
Honey, let me be your salty dog
Now look-a hear, Sal, I know you
A run-down stockin' and a worn-out shoe
Honey, let me be your salty dog
Let me be your salty dog
Or I won't be your man at all
Honey, let me be your salty dog
I was down in the wildwood settin' on a log
Finger on the trigger and an eye on the hog
Honey let me be your salty dog
Let me be your salty dog
Or I won't be your man at all
Honey, let me be your salty dog
I pulled the trigger and the gun said go
Shot a fellow over in Mexico
Honey let me be your salty dog.
Let me be your salty dog
Or I won't be your man at all
Honey, let me be your salty dog
25
Blue Ridge Mountain BluesArr. by Steve Kaufman
Verse
Key of E
Capo 4th Fret
& 44
C
œ œœ
œ
œ œ œ
œ œ œ œ
œ œ œ
0
3
C
When I
2
3
2
G7
&œ œ œ œ œ œ œ
5
I
left
0
my
0
0
0
2
0
was
0
1
2
young and in my
0
3
œ œ œ œ œ
home in
Car
-
o
0
2
C
Now all
2
2
I
0
1
2
do
0
0
& œ œ œ œ œ œ œ
for
0
all
0
the
0
0
2
0
-
sit
3
2
and
0
3
0
3
0
left
be
2
3
C
œ œ œ œ
œ œ œ
œ
œ œ
œ
line.
2
0
3
2
0
3
0
3
3
G7
0
2
0
26
0
3
2
0
3
C
-
3
0
2
3
0
2
C
œ œ œ œ
œ œ œ œ œ œ
œ
hind.
I've
1
0
3
0 2
0 2 3
œ œ œœ œ œ œ œ œœ œœœ œ
pine
œ œ œ œ œ
I
3 2 0
G7
G7
folks
2 0
3
1
G7
13
is
3
C
0
& œ œ œ œ œ œ œ œ œ
œ œ
9
2
0
0
1
0
3
C
0
G7
œ œœœœ œ œ œ œ œ œ œ œ œ
prime
1
G7
0
G7
3
2
0
3
2
0
3
2
got those
2
3
Chorus
œœ œ œœœ
œ
& œ
C
17
blue
0
ridge
1
0
1
2
œœ
œ
œœ
œ
œ
œ
C
moun
1
0
1
-
1
1
0
2
G7
œ œœœœœœ œ œ œ œ
blues
and I'll
tain
0
1
0
G7
0
0
0 2 0
0
3 2 0
0
2
3
œœ
œœ
œ
œ
œ
& œ œ œœ
œ
œœœœ œœœœœœœœ œ œ œ œ
G7
21
G7
stand
3
right
0
0
0
2
C
here
0
1
0
0
to
1
0
say
0
0
3
0
œ œ œ œ
œ
& œ œ
œ œ œ œ
C
25
0
to
0
1
0
2
tra - vel
1
and
0
2
my grip is
1
0
G7
2
0
3 2 0
Dm
I'm
scratch
-
ing
0
3
G7
blue
3
ridge
0
3
2
2
2
0
0
0
0
0 2
3
0
a
2 3 0
2
-
3
27
3
for
the
0
0
2
3
C
far
2
gra - vel
3
C
œœœœ
& œ œœ œ œœœœ œœœœ œ œœ
œ
œœ œ
œ œ
29
2
3
Dm
0
0
2 0
œ œ œ
œ
œ
œ œ
œ œ œ œ
C
packed
C
0
way
0
2
3
1
2 0
3 2 0
3
Blue Ridge Mountain Blues
When I was young and in my prime
I left my home in Caroline.
Now all I do is sit and pine
for all the folks I left behind.
I've got those blue ridge mountain blues
and I'll stand right here to say
my grip is packed to travel and I'm scratching gravel
for the blue ridge far away
I see a window with a light
I see two heads of snowy white
I can hear both of them recite
where is my wandering boy tonight.
I've got those blue ridge mountain blues
where the sighing pine trees wave
and now I'm going to wander to the folks down yonder
on the blue ridge far away
I know that when I return
there'll be a shindig in the barn
people from miles around will form
there'll be some fiddling in the barn
I've got those blue ridge mounatin blues
and I can hear those hound dogs bay
and every day I'll be counting till I've found the mountain
on the blue ridge far away
I'm gonna do right by my walk
I'm gonna do right by my talk
I'll hang around the cabin door
no work or worry anymore
I've got those blue ridge mountain blues
gonna hear my old dog Trey
we're gonna hunt the possum where the corn tops blossom
on the blue ridge far away
28
Sally Gooden
Key of A
Capo 2nd Fret
Arr. by Steve Kaufman
# 4
& 4 œ œ .. œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
œ
G
1
0 2
&
#
5
G
3
.
.
1 3
4 0 2 4 0
0 2
4
# . œ œ œ
& .œ
9
.
.
13
0 2
1
1 3
4 0 2 0
2 4
1
3
0 2
G
G
&
3
D
1 3
1
G
1
4 0 2 4 0 2 0
2
0
2
0
0
2 4
0 2
..
œœœœœœœœ œœœœœœœœ œœœœœœœœ
œ
œ
œ
œœœ œ
G
4 0 2 4 0
#
1
G
0
0
3
0
C
4 0 2 0
0 2
2
œœœœœœœ
0
3
1
0
2
1 3 1 0
2 0
4 2
0
G
2
0
0
.
.
0
2 4
D
G
œ
œ
œ
œ
œ
œœœœœ
œ
œ
œœ
œ
G
3
0
D
G
0
0
2
0
3
0
2
3
5
3
0
3
1
0
2
0
G
D
G
œ
œ
œ
œ
œ
œ
œœœœœœ
œœœ œ œ
œ
œ
œ
œ
œ
œ
œ
œ
œ œ ˙ ..
G
0 2
G
0 1 3
0 1
3
0
3 1 0 3
0 2
29
3 2 5 2 3 0
3 1
0
0 2
4
0
.
.
Sally Goodin
Had a piece of pie an' I had a piece of puddin'
An' I give it all away just to see my Sally Goodin
Well, I looked down the road an' I see my Sally comin'
An' I thought to my soul that I'd kill myself a-runnin'
Love a 'tater pie an' I love an apple puddin
An' I love a little gal that they call Sally Goodin
An' I dropped the 'tater pie an' I left the appie puddin'
But I went across the mountain to see my Sally Goodin
Sally is my dooxy an' Sally is my daisy
When Sally says she hates me I think I'm goin crazy
Little dog'll bark an' the big dog'll bite you
Little gal'll court you an' big gal'll fight you
Rainin' an' a-pourin' an' the creek's runnin' muddy
An' I'm so dam' drunk I can't stand steady
I'm goin up the mountain an' marry little Sally
Raise corn on the hillside an' the devil in the valley
30
The Rights of Man
Arr. by Steve Kaufman
B7
œ
œœœœ
# 4
œ
œ
œ
œ
œ
œ
œ
œ
.
œ
œ
œ œœ
& 4 œœ . œ œœœœœœ œœœœœ
Key of Em
Em
.
.
0 2
&
5
#
0 1
Em
2
0
0 2
0
4
C
2 4
0 2
0
0 2
3 2 0
0 2
3 0 3
3 2 0
3
2
0 2
2
œœœœ œœœ œ
œœ
œ
œ
œ
œ
.
œ œœœœœœ œœœœœ
œ
œ œ œœ. œ œ
Em
Em
0 1
2
0
0 2
4
0
2 4
C
0 2
0
0 2
Em
B7
3 2 0
3 0
Em
1
3 2 3
0
2
2
0 2
.
.
2 4
0
8 10
2
2
Em
D
D
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
# .
œ œ
œ œ œ œ œ #œ œ œ œ œ œ œ œ œ œ œ œ œ
œ
& .
Em
10
1 2 1 2
.
.
7
8
7
8
1 2
1 4 2 1
0 2 3 0
7
10 8 7
2 1
0 3 2 0
2
1 2
3
2 3
1
1 2
0 2 0 2 3
4 1 2 1 4
2 1
5 2
3 2
3
2 5
C
B7
œ œ . 2œ
# œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 1œ
. œ œ
&
œœ
Em
14
D
Em D
2 1 2 1 4
0
0
0 3 2
3
2 5
1
Em
Em
1 3 4
1
3 0 3 5 7 0 2
2 1
3 2 0
2
3 0
Em
2 1 2
3 2 3
2 4
0
8 10
2
31
2
.
.
0
2
2
June Apple
Arr. by Steve Kaufman
A
A
G
G
œ
œ
œ
œœ œœ
#
n
œ
n
œ
œ
œ
n
œ
n
œ
œ
n
œ
œ
## 4 œ . œ
œ
œ
œ
œ
œ
œ
œ
œ
œœœ
.
&
4
Key of A
0
3
.
.
5 0
3 5 3 0 3
5
3 0
3
3 2 0
0 2 3
0 2
3 2 3 5 3
0 3
2
1
nœ . 2
### œ nœ œ œ œ œ œ œ œ nœ œ œ œ œ
œ
œœ
œ
œ
œ
œ
œ
œ
œ
œ
œ
.
œ
œ
œ
œ
&
nœ œ
œ
A
A
A
G
A
5
5
3 0 3 5 3 0 3
5
3 0
3 2 0
2
0 0 2
0
2 0
0
0
3
2 2 2 2
.
.
0
2
2 2 2
3
A
A
G
D
#
## . œ œ œ œ
œ œ
œœ œœ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
.
œ
œ
œ
œ
&
nœ œ œ
10
.
.
2 3 2 0
2
2
0
2 0 2 3
0
2
0
4
0 2
0
2
0 2
3 2 3
0 2
0
1
2
### œ œ œ œ œ œ œ œ œ œ
œ
œ
œ œ
œ n œ œ œ œ œ œ œ œ œ œ œ œ .. œ œ œ œ
&
A
A
A
G
A
14
2 3 2 0
2
2
0
2 0 2 3
0
2
0
4
32
0 2
0
2 0
0
0
2
2 2 2
3
.
.
2
2 2 2
3
New Five Cents
Key of D
Arr. by Steve Kaufman
A
œ
œœœœœœœœ œœœœœ
œ œœœœœœ
## 4 . œ œ œ
& 4 .œ
D
G
D
1
.
.
&
##
5
2
3
2
0 2 0
3
3 0 2 3 0
2
0 2
0 3
5
G
3
2
3
D
A
0 2 0
3 0 2 3 0
2
4
0
2 4 0 2
0
4
2
D
D
10
.
.
14
3 2 0
D
## .
& .œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
D
&
0 2 0
1
2
œ œ œœœœ œœ
œ
œ œ œœœœœ œ
œ b œ ..
œ
œ
œ œ œ
˙.
D
2
##
0
3
2
4
0
4
2
3
4
0
4
2
4
0
2
2
0
.
.
3
œœ
3
œ œ
œ œ œ œ
A
3
4
2
2
2
2
œ œœ œ œ œœœœ œœœœœœœ œ œœœ œœ. œ œœœ
œ œ
œ
.
D
G
2
2
4
2 0
3
D
A
0
0 2 3 0
2
D
1
0 2 3
33
0 2 0
2
2
3
3 3 3
0
0
3 0
.
.
3
3 3 3
0
Soldier's Joy
Key of D
Arr. by Steve Kaufman
## 4 œ .
& 4 œ .œœœœœœœœ œ œ œ œ œœœœœœœœ œ œ œ œœ
D
2
&
5
##
0
.
.
2
D
2
4 0 4
D
3
2
4 0 4
2
0
2
A
4 0 4
2
0
4 0 4
2
2
0
4
œ œ œ œ œ œ œ œ 1œ œ œ œ . 2œ œ œ œ œ œ
œ
œ
œ
œ
œœœœœœœœ œ
œœ.
D
D
2 0
4 2 0 2 4
0
D
3
2
3
3
0
D
A
2 5 2
3
0 3 0
2
3
D
3 3 3
4
0
.
.
3
3 3 3
0 2
G
D
A
œ
œ
œ
œ
œ
œ
œ
## . œ œ œ
œœœ œ œœ œœœ œœœ
œ œœœœœœ
œ
& .
D
10
.
.
3
0 2 3 5 2
3
2
0
0 2 3 2 0
2
3
0 2 3 5 3 2 5
3 2 0
3 2 0
# # œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 1œ œ œ œ œ œ . 2œ œ œ œ
.
&
D
G
D
D
A
D
14
3
0 2 3 5
2
0
3
0 2 3 2 0 3
2 0
34
3
2 0
3 2
0
3
3 3 3
0 2
.
.
3
3 3 3
2
Cripple Creek
Key of A
Capo 2nd Fret
œ œ œ
œ
# 4 œ
& 4
œ œ œ œ Gœ œ
G
I
C
gotta girl and
she
1
2
3
3
3
2
3
3
0
# œ œœœ œ
&
loves
5
1
3
5
3
ba - by
1
3
3
0
3
3
0
5
œ
# . b œ n œ œ œb œ n œ œ
& .
G
9
.
.
2
œ
3
5
blue.
1
3
0
5
C
eyes of
3
3
3
sweet can be.
2
2
0
2
0
G
D7
œ œœœ œ œ
œ
gun
shoot
straight and true.
0
5
œ bœ nœ œ œ
0
2
0
2
0
2
0
œ
G
bœ nœœ œ œ œ
œ œœ
4
Crip- ple Creek
goin'
in a run
Goin'
up Crip-pleCreek
Goin'
up
Crip- ple Creek
Goin'
in a whirl,
Goin'
up Crip-pleCreek to see
3
4
1
0
3
0
2
2
3
4
1
0
3
0
2
2
3
4
1
0
3
0
0
35
1
2
2
02
3
4
0
œ.
œ
œ œ œ œ.
D7
up
2
G
œ œ ˙
Goin'
2
0
4
1
œ
G
œ œ œ
sweet as
0
Makes my
1
œ
G
1
5
She's got
D7
œ œœ œ œ
She's as
œ œ œ œ Gœ œ œ
G
G
me.
1
Arr. by Steve Kaufman
G
have some fun.
my girl
1
0
3
0
0
2
0
4
3
0
0 0
.
.
C
G
G
D7
G
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
#
œ œ œœ
œœ
œ
œ
œ
œ
œ
œ
œ
œ
œ
&
œ
œ
œœ œ
Cripple Creek variation
G
13
2 4 1 2
8 10
7
8
1
7
1 2 3 1
0
0
3
0
5
3
5
1
0
3
1
2 4 1 2
7
8 10
C
G
œ
œ
œ
œ
œ
œ
#
œ œ œ
œ
œ
œ
œ
&
œ
8 10
1
2
7
8
1
1
0
7
0
2
3
0
5
œ
5
1
1
3
0
0
2 0
3
3
4
0
0
7
D7
G
3
3
0
5
2
œ
0 1 0
2 0
2
0 2
G
œ
3
4
0
3
0
0
œ .
# . bœ nœ œ œ bœ nœ œ œ bœ nœ œ œ
bœ nœ œ œ œ œ
œ
& .
œ œœ
œ œ œ œ .
G
œ
3
7
0
G
17
4
8
1
œ
œ
œ œ œ œ œ œ œ œ n œ # œ œ œœ
œ
G
2
7
1
G
D7
G
21
.
.
2
2
3
4
1
0
3
0
2
2
3
4
1
0
3
0
2
2
3
4
1
0
3
0
0
36
1
2
2
0 2
3
4
1
0
3
1
0
0
2
3
0
4
0
3
0
0
.
.
Cripple Creek
I got a girl and she loves me
She's as sweet as she can be
She got eyes of baby blue
Makes my gun shoot straight and true
Goin' up Cripple Creek
Goin' on a run
Goin' up Cripple Creek
to have a little fun
Goin' up Cripple Creek
Goin' in a whirl,
Goin' up Cripple Creek
To see my girl
Cripple Creek's wide and Cripple Creek's deep
I'll wade old Cripple Creek before I sleep
Roll my britches up to my knees,
I'll wade old Cripple Creek when I please
Repeat Chorus
I went down to Cripple Creek
To see what them girls had to eat
I got drunk and fell against the wall
Old corn liquor was the cause of it all
Repeat Chorus
Well I married a wife in the month of June
I married her up by the light of the moon
We live down on Cripple Creek
We've been there about a week
Repeat Chorus
I got a gal at the head of the creek
And I'm goin' down to see her 'bout the middle of the week
Kiss her on mouth just as sweet as any wine
Wraps herself around me like a sweet potato vine.
37
Fallen Leaves
Key of C
œ
4
&4
0
œ
C
˙˙
˙˙
œ
œ
3
1
0
2
3
1
3
& œœœ œ œ œ
F
4
3
2
3
1
0
2
œ œ œ
&œ
C
8
0
0
3
0
& œœœ œ œ œ
F
12
3
2
3
1
0
2
G
b œœœœ œ
œ
C7
0
1
3
2
3
0
˙˙
˙
œ
œ
G7
0
0
0
0
1
3
0
3
˙˙
˙˙
œ
œ
1
0
2
3
1
3
˙˙
˙
œ œ
0
0
0
0
1
3
0
3
˙˙˙
˙
1
1
2
3
0
1
2
3
˙˙
˙˙˙
œ œ œ œ
0
1
0
2
3
0
C
1
œ
œ
œ
œ
œ
b œœ
œ
C7
0
1
3
2
3
0
œœ œ œ œ
œ
G7
3
0
3
1
˙˙
˙˙
F
œœ œ œ œ
œ
G
C
œ
œ
Arr. by Steve Kaufman
1
0
38
3
1
C
œœ œ œ œ
œœ
œ
1
0
2
3
1
2
0
2
1
˙˙
˙˙
˙˙˙
˙
1
1
2
3
0
1
2
3
F
3
3
C
˙
3
2
Fallen Leaves
œœ œ
4
&4
C
Fall - ing
0 0
C
leaves
3
1
that
0 0
1
5
0
that were
0
0
0
scat-tered
0
3
0
on the
1
0
1
0
here
1
now
4
0
2
1
0
1
2
1
3
1
2
0
2
œ œœœ
œ œ œ
œœœœ œ
found
1
0
œ œ œœœœœ
œ
œ
œ
&
œœœ œ œ
œ
C
1
C
C
All his
3
4
5
1
The birds and
C
can't be
0
3
ground
1 30
G7
& œ œœœœ œ
0
lie
œ œœ œ œ œœ
G7
flow - ers
Arr. by Steve Kaufman
F
F
œ
œ œœ œ œ œ œ œ œœ œ œ œ œ œ œ œ œ œ œ œ œœ œ œ œ
Key of C
0
1
2
0
3
2
0
0
3
3
œ œ œœœ œ œ œ œ
œ
œ
œ
œ
F
F
9
friends
1
that
0
he
0
2
1
once
0
G7
& œ œ œ œœ œ
3
had
0
are
1
0
not
-
0 1 3 0
1
0
a
œ œœœœœœœ
G7
13
scat - tered
0
0
0
like the
0
0
1
leaves
3
up - on
0
1
3
0
the
1
3
39
round
1
They are
1
1
2
0
1
2
1
C
3
C
œ œœœœ œ
œ œ
ground.
0
1
0
1
2
0
2
0
3
2
1
0
2
Fallen Leaves
Falling leaves that lie scattered on the ground
The birds and flowers that were here now can't be found
All his friends that he once had are not around
They are scattered like the leaves upon the ground.
Some folks drift along through life and never thrill
To the feeling that a good deed brings until
It's too late and they are ready to lie down
Beneath the leaves there scattered on the ground.
Lord let my eyes see every need of every man;
Let me stop and always lend a helping hand
Then when I'm laid beneath that mossy ground
There'll be more friends around than leaves upon the ground.
To your grave there's no use taking any gold;
It's no use when it's time for hands to fold.
When you leave this world for a better home some day
The only thing you'll take is what you gave away.
40
Cluck Old Hen
Key of Am
& 44 .. œ œ œ œ œ œ œ œ œ œ œ œ œ
Am
Am
G
Am
hen.
She
1
.
.
My
0
old
2
2
hen's
0
2
a
good
2 0
Am
& œ œ œ œ œœ
0
0
2
2
0
and
Cluck old
0
hen
0
3
œœœ
&
œ œ œ œ
Am
13
Cluck old
0
0
0
œœœ
œ
hen
0
1
2
2
3
0
2
2
3
0
0
0
œœœ
œ œ œ
Am
0
0
œ
œœ
œ œ
G
lays
2
2
eggs
2
0
for the
2
2
That's
0
0
2
2 0
3
2
e - nough
for the
2
2
0
2
2
0
Am
0
2
0
3
0
1
2
2
0
0
0
1
2
2
E7
laid eggs since
0
3
0
0
3
0
Am
late
1
œœœ
œ
rail - road men.
œ œ œ œ
ain't
œœœ
œ
0
1
2
2
œœœ
bœ œ œ œ nœ
0
41
men.
œ œœœ œ œœ œ œ œ œ œ
Ain't laid an egg since
3
rail - road
E7
œ œ œ œ œ
3
0
0
0
Am
Am
Am
squall.
0
1
2
2
0
0
3
E7
œ œ œ œ œ œœ œ œ œ œ œ œ
Am
sing. You
0
1
2
2
0
0
3
œ
œœ
œ œ
cluck and
0
1
2
2
0
G
cluck and
0
1
2
2
0
some - times ten.
Am
9
2 0
G
œœœ
œ œ œ
Am
2
œ œ œ œ œœ
2 0
œœœ
&
œ œ œ œ
2
Am
5
Some - times eight
old
Arr. by Steve Kaufman
last spring.
0
3
0
œœœ ..
bœ œ œ œ nœ
E7
Am
late
last fall.
1
0
3
0
0
1
2
2
.
.
Cluck Old Hen
My old hen's a good old hen.
She lays eggs for the railroad men.
Sometimes eight and sometimes ten.
That's enough for the railroad men.
Cluck old hen cluck and sing.
You ain't laid an egg since late last spring.
Cluck old hen cluck and squall.
Ain't laid an egg since late last fall.
Cluck old hen cluck when I tell you.
Cluck old hen or I'm gonna sell you.
Last time she cackled cackled in the lot.
Next time she cackles cackle in the pot.
My old hen she's a good old hen.
She lays eggs for the railroad men.
Sometimes one sometimes two.
Sometimes enough for the whole darn crew.
42
I'll Fly Away
Key of G
# 4
& 4 œœœ
œœœ
G
œ
Some
0 2
&
5
#
0
œœœ
œ
4
3
3
G
G7
œ
œ
œ œ œ œ œ œ œ œ œ œ œ œ œ nœ œ œ
œ
morn
3
0
3
-
3
3
ing
3
3
0
œ œœ œ
œ
œ
œ
œ
œ
œ
œ
œœ œ
œ
C
C
I'll
fly
0
# œ
&
G
0
1
0
œœœ
9
To
4
# œ
&
0
1
I'll
2
œœœ
œ
that
3
3
3
a
0
1
0
3
0
3
-
3
3
0
0
3
3
0
a
2 3 3
2
3
4
0
3
3
3
3 2
0
0
this life is
0
o'er
0 1
2
0
0
2
G
way.
0
3
1
0
2
0
G
G
œ œœ œ œ
0
0
0
œ
shore
0
0
1
0 2 4
G
0
2
œ œ œ œ œ #œ
ce - lest - ial
2
0
G
œ œœœœ
œœ œ
0 2
œ œœ # œœ
œ
way.
0
0
3
0
2
0
3
2
0
3
(C) 1932 in Wonderful Message by Hartford Music Co. Renewed 1960 by Albert E Blumley & Sons/SESAC
All Rights Reserved. Administered by Integraged Copyright Group, Inc
43
0
1
0
œœœœœœ œ
œ
œ œ œ
G
3
#œ œ œ œ œ bœ œ nœ
œ
fly
3
God's
D7
œ œ #œ
0
2
on
3
3
3
œœœœ œœœ
œ
3
when
0
1
G
home
G
13
1
0
Arr. by Steve Kaufman
G
bright
3
By Albert E Brumley
3
1
3
2
3
G
G
G7
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
# œ œ
nœ œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
&
œ œ
G
17
I'll
fly
a
4 1 2 1 1 3 2 3
1 3 2 1 3 2
3
3
&
21
#
7
8
7
8
7
7
9
7
8
7 7
7
8
8
œ œœ
œ
œ œœ
œ œ
œ
œ
œ
œ
C
way
oh
1 3 1 2 2 1 1 1
7
C
I'll
0
fly
0
0
1
0
1
0
2
1
0
0
a
0
8
7
8
3
4
3
glor
2
3
way
(in
the
0
0
0
2
0
2
G
œ
25
4
# œ
&
3
3
3
0
G
29
I'll
die
3
3
hal
3
0
0
2
4
D7
œ œ #œ
œ
œ œ œ œ œ œ
fly
0
2
3
4
0
0
2
4
a
0
2
-
4
44
-
le
-
0
2
3
lu - jah
by
and
by
0
0
1
0
0
2
G
œ œ œ œ
œ
œ
bœ nœ
way.
0
2
0
0
0
2
1
2
0
0
2
œ œ œ
0
G
0
0
morn - ing).
G
G
œ
œ
# œ œ œ œ œ
œ
œ
œ
œ
œ
#
œ
œ
&
œ
œ
œ
œ œœ
I
0
œ œ œ œ œ
G
When
1
y.
G
œ œ œ œ
2
0
2
G
-
1
0
2
I'll Fly Away
Some bright morning when this life is over
I'll fly away
To that home on God's celestial shore
I'll fly away
I'll fly away oh glory
I'll fly away (in the morning)
When I die hallelujah by and by
I'll fly away
When the shadows of this life have gone
I'll fly away
Like a bird from these prison walls I'll fly
I'll fly away
Oh how glad and happy when we meet
I'll fly away
No more cold iron shackles on my feet
I'll fly away
Just a few more weary days and then
I'll fly away
To a land where joy will never end
I'll fly away
45
Bill Cheatham
Key of A
Capo 2nd Fret
Arr. by Steve Kaufman
œœœœ
# 4 . œ œ
œ
œ
œ
œ
œ
œ
œœ
& 4 .œ
œœ œœœœœœœœ œ
G
G
C
C
1
.
.
&
5
#
0
0
0
0 2
0
0
2 0
1
2 0
2 0
1
0 2 3 0
1 3
3 1 0
2
3
1
2
œ
œœ
œ
œ
œ
œ
œ
œ
œ
œ
œ
.
œ
œ œ œ œ bœ .
œœœ
œ œ œ œœ œœœœœœœœ œ
G
0
G
0
0
0
0 2
D
C
2 0
0
2 0 2
0
1 0 1 3
0 2 3 0
G
3 1 0
D
2 0
2
.
1 .
G
3 1 0
3 0
2 0
C
D
G
G
C
G
D
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œœ
# .œœœ œœœ œœœ
œ
œ
œ
œ
œ
œ
œœ
& .
G
10
.
.
1 2 1 1 3 2 3 1
3
3
4
3
5
5
5
3 2 3 1 4
3
7
7
5
7
0
8
1
2
2 4 1 4 2
7
8
8 10
7
0
10 8
3
0
3 0
3 0
2
C
œœ. 2
# œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 1œ
&
œœœœ . œœœœœ
G
C
D
G
D
G
G
D
G
14
1 2 1 1 3 2 3 1
3
4
3
3
5
5
5
3
3 2 3 1 4
7
7
7
5
8
0
1
2 4 1 4 2
7
8 10
7
46
10 8
3 1
0
3 1
1 3
0
3 0
0 2
4
0
.
.
0
0 2
4
0
Drowsy Maggie
Key of Em
Arr. by Steve Kaufman
## 4 .
& 4 . œœœ œ œ œ œ œ œ œœœ œ œ œ œ œ œ œœœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
Em
Em
D
Em
Em
D
1
.
.
&
5
##
0 2
0
0
0
3
0
0
0
0 2
0
0
0 2
4 0 4
0
0
0 2
3
0
0
0
0
0
2
0 2 3 0
2
4
œœœœ
œœœœ œœœœœ œœ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ œ œ œœ
œœ
œœ
Em
Em
0 2
0
0
0
3
0
0
0
0 2
D
0
0
0 2
Em
4 0 4
Em
0 2
0
0
0
3
0
0
0
0
D
2
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0 2
3
D
A
G
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9
3
3
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D
Em
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&
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13
3
3
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3
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5 2 3 0 2
47
3
0
3
0
2
0 2 3 0
2
.
4 .
2
Froggy Had a Breakdown
Arr. by Steve Kaufman
G
G
G
G
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
# 4 J œ œ #œ #œ œ œ œ œ œ #œ œ œ œ œ œ #œ œœ œŒ œ
#œ œ œ œ œ œ #œ
& 4
Key of G
J
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5
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3
3
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2
0
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3
2
3
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3
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1
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G
0
3
0
3
0
3
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0
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3
0
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G
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0
3
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48
0
0
3
0
2
0
2
0
0
2
3
0
2
Cumberland Gap
Arr. by Steve Kaufman
G
Em
G
D
G
œ
œ
œ
œ
œ
œ
œ
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# 4 .
œ
œ
œ
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& 4 . œ œœ œ œ œ œ œ
œ
Key of G
G
1
.
.
&
5
#
9
Me
0
0
2
œ
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œ
Gap,
3
0
3
0
0
2
3 3
3
3
4
Four - teen miles
3
53 5
3
3
0
0 3
to
0
Cum - ber-land Gap;
2 0
0
2
3
0
0
0
D
œ G œ œEm
œœ œ œœ œ Gœ œ œ œ
œG
œ œœ œ œ œ œ œ
œ œ œœ
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and my wife and
3
0
Cum-ber-land Gap,
0
my
3
0
wife's
2 4
3
pap,
All
3 3
3
3
53
3
5
go-in' down
3
0
0
3
to
0
Cum - ber-land
2 0
0
2
0
0
Gap.
3
3
0
0
G
G
D
G œ
œ
œ
œ
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7
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7
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7
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8 8
7
8
7
8
7
9
2 2 1 2
8 8
7
8
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11
7
4 1
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7
2 2 1 2 2
8 8
7
8 8
7
8
G
G
G
D
G
# œ œ œ œ # œ œ n œ œ œ œ œ œ œ œ œ œ œ œ œ œ # œ œ n œ œ œ œ œ œ œ œœ
13
8 8
7
8 11
7
10
7
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7
8
7
8
7
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49
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7
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7
10
7
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7
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3
0
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8 8
&
0
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0 2
&
Cum - ber-land
7
8
.
.
Cumberland Gap
Cumberland Gap, Cumberland Gap,
Fourteen miles to Cumberland Gap;
Me and my wife and my wife's pap,
All goin' down to Cumberland Gap.
Cumberland Gap is a noted place,
Cumberland Gap is a noted place,
Cumberland Gap is a noted place,
Three kinds of water to wash your face.
Me and my wife and my wife's pap,
Me and my wife and my wife's pap,
Me and my wife and my wife's pap,
We all live down at Cumberland Gap.
Daniel Boone on Pinnacle Rock,
Daniel Boone on Pinnacle Rock,
Daniel Boone on Pinnacle Rock,
Killed many injuns with his old flintlock.
Lay down boys and take a little nap,
Lay down boys and take a little nap,
Lay down boys and take a little nap,
Fourteen miles to Cumberland Gap.
50
Rickett's Hornpipe
Arr. by Steve Kaufman
D
G
E7
A7
œ
œ
œ
œ
œ
œ
## 4 œ œ . œ
œ œœœœ
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& 4
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Key of D
D
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.
.
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A
3
2
2
4
3
2
3
0
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2
7
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2
7
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1
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51
7
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1 2
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0
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.
.
3 0
2
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0 2
Sally Gooden
Key of A
Capo 2nd Fret
Arr. by Steve Kaufman
D
G
G
G
œ
œ
œ
#
œ
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œ œ œ œ œ œ œ œ œ œ œ #œ œ œ œ œ œ œ œ œ œ œ œ œ
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œ
.
& 4
High Part
G
2 2
1 2
.
.
8 8
7
4 1 2 2 3 2
8
11
7
8 8
8
9
1 2 4 2 3 1 2 4
1 2
7
7
8 10 8
9
7 8 10
8
4 1 2 2 3 2
11
7
8 8
9
8
1 3 1 2 3 1 2 4
7
7
9
8
7 8 10
9
D
G
D
G
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2
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5
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7
8 8
9
8
2
.
.
12
3
12
1
10
1 2 4 2 3 2 4 1
2 4 2 1 4 2 1 3
7
8 10 8 7
8 10 8
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9
7
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& .
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10
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3
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7
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10
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7 9
7 10 8
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9
1 4 3 1 4
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12
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1
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1
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4
13
3
1
3
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2
3
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G œ
G
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3 1 3 4 1
12
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1 3
10 10
12
1 3 1 4 3 1 3 2
10 12 10
13 12 10
12 11
52
3 1 3 4 1 3 1 4
12
10 12 13
10 12 10
13
3 2 1 2 3
12
12
10
11 12
..
.
.
Salt Creek
Key of A
Capo 2nd Fret
Arr. by Steve Kaufman
# 4 .
& 4 . œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ nœ œ œ œ œ œ nœ œ œ œ œ
G
G
C
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F
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1
.
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0
4 5
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5
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0
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3
1
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3
3
0
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D
G
œ
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& œœœœœ œ
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˙ ..
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G
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5
0
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5
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3
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3
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3
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7
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2
1
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1
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1
5
5
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2
1
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6
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F
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13
2 1 1 2 1 3 2 1
4
3
3
4
3
5
4
3
4
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7
7 8 7
10 8
53
1 3 1
0
1 3 1 0
3
2 3
3
2 3
0
3 0
3
2 0
.
.
Dark Hollow
Key of C
Arr. by Steve Kaufman
œ œ
œ œœ
4
œ
œ
œ
& 4 œ œ #œ œ œ œ œ œ œ œ œ œ œ œ œ bœ nœ œ œ œ œ
C
I'd rath - er
2
3
be
0
4
G7
in
1
0
0
œ
œ
œ œ œœ œ
&
sun
9
8
8
8
9
ev
7
5
8
0
home
1
0
0
1
a
& œ œ œ œ
13
cause
1
me
0
2
to
0
0
0
0
3
5
6
1
2
-
3
2
shine.
2
0
3
lose
2
0
1
2 0
1
2
1
3
3
Than to
2
1
2
2
0
0
2
3
that
1
2
1
2
gone.
3
1
œ œ œ œ
œ œ œ
œ
mind.
3
0
3
2
0
1
3
œ œ œ œ
C
2
0
F
you're
C
1
54
1
know - ing
0
0
0
œ œœœœ œ œ
2
my
0
0
F
3
œ œ œ œ œ œ œ
0
2
C
er
G7
3
0
Where the
œ œ œ bœ nœ œ œ œ œ œ œ œ
lone
3
hol - low.
C
œ bœ œ œ œ
œ
œ
3
C
5
6
5
0
0
C7
1 0
C
0
2
don't
œœ œ œ œœ
&
œ
be
dark
F
C
9
some
œ œœ
œ
œ
œ
œ
C
5
1
C
3
Would
0
2
0
Dark Hollow
I'd rather be in some dark hollow
Where the sun don't ever shine
Than to be home alone knowing that you're gone
Would cause me to lose my mind
So blow your whistle freight train
Carry me further on down the track
I'm going away I'm leaving today
I'm going but I ain't coming back
I'd rather be in some dark hollow
Where the sun don't ever shine
Than to be in some big city
In a small room with you love on my mind
55
Will the Circle Be UnbrokenArr. by Steve Kaufman
Key of G
# 4
& 4 œœ œ œ
G
&
#
5
&
9
-
0
œ
œ
œ œœ œ œ
and
Lord,
0
1
0
0
5
0
0
0
the
ter
4 5
0
0
0
5
0
# œ œœœ
œ œ œ
&
G
take
sky
0
my
Lord,
0 1 0
2
0
and
0
0
1
0
0 2 4 0 2
0
1
2
0
G
by,
0
0
1
0
0
1 2
0 2 0
œ œœœœ œ
G
hearse come
home
a 0
0
3
roll
wait
-
3
3
D7
4
in'
in'
3
3
0
There's
a
0
0 2 0
0
G
œ œ œ œ œ œ #œ
For to
In the
0
0
0 2
G
4
G
œ œ œ œ œ œ œ œ œ œ nœ œ œ
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moth
er
a - way.
in
0
0
a
and
œ
œ œœ œœœ œ
œ œ œ œœœ
œ
œ
œ
œ #œ œ
cloud
y
day,
When
I
G
-
0
0
On
By
G
œ
œ
œ
œ
œ
œ œœœ œ œ œ
saw
bet
G7
my
win - dow
un - bro - ken?
0 0 2 4 0 2
C
0
G
0
13
0
by
be
by
1
2
ing
cle
4 5
C
0
#
stand
cir
2
cold
by
G7
œ œœœ œ œœœ œ œ œ œ œ œ
I was
Will the
0 0 0
nœ œ œ
œ
œ
œ
œ
œ
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G
2
the
0 1
2
0
sky.
0 2
56
4
0
0
3 2 0
3 2 0
3
0
2
3
Will The Circle Be Unbroken
I was standing by my window
On a cold and cloudy day,
When I saw the hearse come rollin'
For to take my mother away.
Will the circle be unbroken?
By and by Lord, by and by,
There's a better home a-waitin'
In the sky Lord, in the sky.
I told the undertaker,
"Undertaker, please drive slow,
For this body you are haulin'
Lord, I hate to see her go."
Well I followed close behind her,
Tried to hold up and be brave,
But I could not hide my sorrow
When they laid her in the grave
I went back home, my home was lonesome,
missed my mother she was gone.
All my brothers and sisters crying
in our home so sad and alone.
57
Blue Ridge Cabin Home
Arr. by Steve Kaufman
G
C
C
œ
œ
œ
# 4
nœ œ œœ œœ œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
& 4 œ œ
œ œ œ œ œ œœœ œ œ
Key of G
G
There's a
0
0
&
#
5
well
beat - en
3
4
3
3
4
œ œœ
œ
œ
œ
œ
D7
wan
2
-
2
5
3
4
3
3
that
1
0
2
I was
2
0
4
2
1
2
4
0
4
&
13
#
-
dered
3
3
4
a
3
-
3
3
5
œ
œ
œ œ œ œ œ
D7
Blue
2
1
ridge
2
2
lone
4
3
2
a
lad
2
0
1
the
1
2
0
0
1
0
a
place
2
4
way
I
1
2
œ
-
1 2
œ œœœœœœ
G
far
0
0 2 0
C
0
œ œœ œ œ
1
0
2
0
0
4
G
1
0
D7
hills
2
0
1
to
3
1
Where I
œ œ #œ œ œ œ œ œ œ œ œ
G
œ
œ
# œ œ œ œ œ œ œ œ œ œ nœ
œ
&
œ
wan
moun - tain - side
G
G
9
old
0
œ œœœœ œœ
when
1
down
D7
dered
2
1
3
path
0
2
call
1
0
And
I
0
2
C
œ œ œ œ
home
In those
0
0
0
2
4
0
G
œ œ œ œ
œ
œ
œ
œ #œ œ
Oh
I
0
2
2
0
4
2
0
58
0
0
1
2
0
2
4
0
0
# œ œœœœœ œ
&
G
17
love
4
&
#
21
those
3
3
4
4
œ œœ
œ
œ
œ
œ
1
2
ridge
2
2
1
0
4
&
29
#
won't
3
3
4
you
3
5
œ
œ
œ œ œ œ œ
2
from
1
2
2
3
my
1
C
œ œ œ œ œ bœ nœ œ œ œ œ
old Vir - gin - ia
3
2
0
0
D7
I
2
G
on
the
2
0
0
1
2
0
0
2 0
3 2 0
C
œ œ œ œ
bury me
2
0
0
4
3
G
1
2
4
0
œ œœœœœœ œ œ œ œ
roam
When I
did
1
2
2
From those
G
œ œœœœœœ
4
C
0
0
2
3
C
œ œ œ œ œ bœ nœ œ œ œ œ
moun - tain
Far
a -
3
D7
way
3
2
# œ œ œ œ œ œ œ
&
die
4
of
hills
G
25
hills
3
3
D7
Blue
œœ
œ
œ
œ œ
G
4
4
0
D7
2
0
2
0
1
2
G
œ œ œ œ
Blue - ridge moun - tain
0
3
G
œ œœœœ
œœ œ
home
2
0
4
0
2
4
59
0
0
2
0
3
2
0
3
4
0
Blue Ridge Cabin Home
There's a well beaten path down that old mountainside
Where I wandered when I was a lad
And I wandered alone to the place I call home
In those Blueridge hills far away
Oh I love those hills of old Virginia
From those Blueridge hills I did roam
When I die won't you bury me on the mountain
Far away near my Blueridge mountain home
Now my thoughts wander back to that ramshackled shack
In those blue ridge hills far away
Where my mother and dad were laid there to rest
They are sleeping in peace together there
I return to that old cabin home with the sigh
I've been longing for days gone by
When I die won't you bury me on that old mountain side
Make my resting place upon the hills so high
60
Grandfather's Clock
Key of G
# 4
& 4 œœœ
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Arr. by Steve Kaufman
2 0
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33
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My Grandfather's Clock
My Grandfather's clock was too large for the shelf,
So it stood ninety years on the floor.
It was taller by half than the old man himself,
Though it weighed not a pennyweight more.
It was bought on the morn of the day that he was born,
It was always his treasure and pride,
And it stopped short, never to go again, when the old man died.
In watching its pendulum swing to and fro,
Many hours he spent as a boy.
And in childhood and manhood the clock seemed to know,
And it shared both his sorrow and joy.
And it struck twenty-four when he entered the door,
With a blooming and beautiful bride,
And it stopped short, never to go again, when the old man died.
Ninety years without slumbering, tick, tock, tick, tick,
It's life seconds numbering, tick tock, tick, tock,
And it stopped short, never to go again, when the old man died.
My Grandfather said that of those he could hire,
Not a servant so faithful he found.
It wasted no time and it had one desire,
At the end of the week to be wound.
And it stayed in its place, not a frown upon its face,
And it's hands never hung by it's side,
And it stopped short, never to go again, when the old man died.
Now it rang an alarm in the still of the night,
An alarm that for years had been dumb.
We knew that his spirit was pluming in flight,
That his hour of departure had come.
Still the clock kept its time with a soft and muffled chime,
As we silently stood by his side,
And it stopped short, never to go again, when the old man died.
Ninety years without slumbering, tick, tock, tick, tick,
It's life seconds numbering, tick tock, tick, tock,
And it stopped short, never to go again, when the old man died.
64
Gotta Travel On
Arr. by Steve Kaufman
Words: Paul Clayton; Music: W.C. Handy
Key of G
# 4
& 4 œ
G
G
G
G
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65
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Gotta Travel On
I've laid around and played around this old town too long
Summers almost gone, winters coming on
I've laid around and played around this old town too long
And I feel like I've gotta travel on
Poppa writes to Johnny but Johnny can't come home
Johnny can't come home, no, Johnny can't come home
Poppa writes to Johnny but Johnny can't come home
Cause he's been on the chain gang too long
High sheriff and police riding after me
Riding after me, yes, coming after me
High sheriff and police riding after me
And I feel like I've gotta travel on
Want to see my honey, want to see her bad
Want to see her bad, oh, want to see her bad
Want to see my honey, want to see her bad
She's the best gal this poor boy ever had
66
Bury Me Beneath the Willow
G
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0
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67
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Bury Me Beneath the Willow
Oh, bury me beneath the willow
Under the weeping willow tree
So she will know where I am sleeping
And perhaps she'll weep for me
My heart is sad I am lonely
For the only one I love
When shall I see her oh no never
'Til we meet in heaven above
She told me that she dearly loved me
How could I believe it untrue
Until the angels softly whispered
She will prove untrue to you
Tomorrow was to be our wedding
God oh God where can she be
She's out a courting with another
And no longer cares for me
69
Ú
Freight Train
210
C
&
5
3
0
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3
2
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2
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G
C
1
.
.
Arr. by Steve Kaufman
Lyrics and Music by Elizabeth Cotten
˙
˙
4
.
.
&4 œ œ
œ
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Key of C
1
3
0
2
.
.
3
2
3
Freight Train
Freight train, freight train, run so fast
Freight train, freight train, run so fast
Please don't tell what train I'm on
They won't know what route I'm going
When I'm dead and in my grave
No more good times here I crave
Place the stones at my head and feet
And tell them all I've gone to sleep
When I die, oh bury me deep
Down at the end of old Chestnut Street
So I can hear old Number Nine
As she comes rolling by
When I die, oh bury me deep
Down at the end of old Chestnut Street
Place the stones at my head and feet
And tell them all I've gone to sleep
Freight train, freight train, run so fast
Freight train, freight train, run so fast
Please don't tell what train I'm on
They won't know what route I'm going
71
Ú
Wayfaring Stranger
Key of Am
& 44 œ œ œ
120
0
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9
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w
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Am
Arr. by Steve Kaufman
œ
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73
œ
2
2
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2
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1
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Wayfaring Stranger
I am a poor wayfaring stranger
A-trav'ling through this land of woe.
And there's no sickness, toil or danger
In that bright world to which I go.
I'm going home to see my father
I'm going there no more to roam;
I'm just a-going over Jordan
I'm just a-going over home.
I know dark clouds will gather 'round me
I know my way is steep and rough;
But beauteous fields lie just beyond me
Where souls redeemed their vigil keep.
I'm going there to meet my mother
She said she'd meet me when I come
I'm just a-going over Jordan
I'm just a-going over home.
74
Fishin'
Key of D
Tune 6th String
Down to D
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I'm Going Fishin
I walked down the hill about twelve a clock
and I sat right down on a great big rock
I looked down in the water and bless my soul
I seen a great big catfish jumpin' that hole
I'm a gonna fishin 'cause everybody's fishing
And I'm a gonna fishing too
You bet your life that your lovin' wife
Might catch more fish than you
Any fish will bite if you got good bait
And here's a little something that I've got to relate
When it comes to fishin', Lord, the fish won't wait
I'm a goin' fishin 'cause everybody's fishing
And I'm a goin' fishing too
I went to the store and I took a look
I bought a line and a pole and a triple hook
An old man smiled as he said to me
Son, catch a big catfish for me
(chorus)
I lean right back against on old dead tree
And a big old bass took a look at me
He grabbed my bate when I throwed him my line
When I got him to the bank, Lord, he sure looked fine
(chorus)
77
Ú
Key of C
When You and I Were Young, Maggie
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When You and I Were Young, Maggie
I wandered today to the hill, Maggie
To watch the scene below
The creek and the rusty old mill, Maggie
Where we sat in the long, long ago.
The green grove is gone from the hill, Maggie
Where first the daisies sprung
The old rusty mill is still, Maggie
Since you and I were young.
A city so silent and lone, Maggie
Where the young and the gay and the best
In polished white mansion of stone, Maggie
Have each found a place of rest
Is built where the birds used to play, Maggie
And join in the songs that were sung
For we sang just as gay as they, Maggie
When you and I were young.
They say I am feeble with age, Maggie
My steps are less sprightly than then
My face is a well written page, Maggie
But time alone was the pen.
They say we are aged and grey, Maggie
As spray by the white breakers flung
But to me you're as fair as you were, Maggie
When you and I were young.
And now we are aged and grey, Maggie
The trials of life nearly done
Let us sing of the days that are gone, Maggie
When you and I were young.
80
Key of D
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Sheebeg and Sheemore
Turlough O'Carolan
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Key of D
Tune 6th String
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Banks of the Ohio
I asked my love to take a walk,
Just a little way's with me.
An' as we walked,
Then we would talk
All about our wedding day.
CHORUS:
"Darlin', say that you'll be mine;
In our home we'll happy be,
Down beside where the waters flow,
On the banks of the Ohio."
I took her by her pretty white hand,
I led her down the banks of sand,
I plunged her in
Where she would drown,
An' watched her as she floated down.
CHORUS:
"Darlin', say that you'll be mine;
In our home we'll happy be,
Down beside where the waters flow,
On the banks of the Ohio."
Returnin' home between twelve and one,
Thinkin', Lord, what a deed I've done;
I'd killed the girl
I love, you see,
Because she would not marry me.
The very next day, at half past four,
The sheriff walked right to my door;
He says, "Young man,
Don't try to run.
You'll pay for this awful crime you've done."
CHORUS:
84
Ú
Make Me a Pallet On Your Floor
Key of C
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C
Make Me a Pallet On Your Floor
(Chorus)
Honey, make me down a pallet on your floor
Make me down a pallet on your floor
Honey, make it down, make it soft and low
Then maybe my good gal she won't know
I'm goin' up the country through the sleet an' snow
Goin' up the country through the sleet an' snow
I'm goin' up the country through the sleet an' snow
Ain't no telling just how far I'll go
I get my breakfast here and my dinner in Tennessee
Get my breakfast here and my dinner in Tennessee
I get my breakfast here and my dinner in Tennessee
I told you I's a-commin' so you'd better look for me
Honey, I can't lay down on your bed
You know that I can't lay down on your bed
Yes, you know that I can't lay down 'cross your pretty bed
'cause my good woman she might kill me dead
And don't you let my good gal catch you here
No don't you let my good gal catch you here
Doo, she might shoot you, cut and stump you too
Ain't no tellin' what o' she might do
The way I've been sleepin' my back and shoulders' tire
The way I've been sleepin' my back and shoulders' tire
The way I've been sleepin' my back and shoulders' tire
I think I'm goin' turn over, try sleepin' on my side
86
Deep River Blues
Arr. by Steve Kaufman
The Delmore Brothers
˜
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87
7
0
1
2
5
6
0
2
2
0
2
0
2
2
0
0
3
2
0
j
œ œ ˙
œ
œ
œ
œ
j
0
0
2
2
0
2
2
E
2
0
1
2
0
Deep River Blues
Let it rain let it pour
Let it rain a whole lot more
'Cause I got them deep river blues
Let the rain drive right on
let the waves sweep along
'Cause I got them deep river blues.
My old gal's a good old pal
And she looks like a water fowl
when I get them deep river blues
Ain't no one to cry for me
And the fish all go out on a spree when
I get them deep river blues.
Give me back my old boat
I'm gonna sail if she'll float
cause I got them deep river blues
I'm goin' back to Mussel Shoals
Times are better there I'm told
cause I got them deep river blues.
If my boat sinks with me
I'll go down don't you see
cause I got them deep river blues
Now I'm gonna say good-bye
'N if I sink just let me die
cause I got them deep river blues.
88
Ú
Oh, Danny Boy
Arr. by Steve Kaufman
Key of C
0
1
3
œ œ œ œ œ œ œ œ œ ‰ jœ œ œ œ œ œ œ ‰ œ œ œ œ œ œ
bœ ˙
œ
œ
œ
œ
œ
˙
˙
˙
˙
˙
˙
j
J
0
2
3
C
jœ œ
4
&4 œ
œ œ œ
J
j
100
3
Em
0
0
1
0
Am
0
3
0
C
5 3
2
Em
3
C
5
0
1
3
0
3
0
5
j
3
0
2
Em
0
0
1
0
C
0
3
2
C
Am
3
0
5
j
3
0
0
3
0
0
0
1
G7
0
0
2
3
1
3
1
1
1
3
1
3
0
3
0
5
3
0
0
1
0
0
1
1
2
0
0
3
0
3
2
Fm
1
2
3
1
2
2
1
3
1
1
1
3
1
0
3
1
13
1
3
4
3
œ œ œ œ œ œ œ œ œ œ œ œ
œ
œ œ
& œ
œ
˙
˙
˙
˙
j
0
2
œ œ œ œ œ œ ‰ bœ œ œ œ œ œ œ
œ
˙
˙
˙
3
Dm
5
F
0
0
1
G
5
9
3
2
1
3
3
Am
2
œœ œœ œœ œœ œœ œœœœ œœ
˙
b˙
œ œ
˙
œ œ œ œ œ œ œ œ œ ‰ jœ
& ˙ œ
œ
œ
œ
˙
˙
˙
C
1
D7
0
0
Fm
3
0
0
Am
0
0
0
œ œ œ œ œ œ œ œ œ ‰ jœ
& ˙ œ
œ
œ
œ
˙
˙
˙
C
F
0
0
œ
œ
œ
œ
œ
œ œ œ œœœœ œ œ
œ
˙
œ œ œ
C
1
3
3
89
F
0
1
C
0
3
2
1
0
2
3
1
3
3
5
7
2
3
5
C
F
œ
œ œ œ œ
œ
& ˙ œ
#˙ œ
17
8
5
5
5
8
7
œ œ œ œ œ
˙ œ
œ
˙
C
5
3
7
5
6
G7
6
5
7
3
œ
5
8
0
8
9
9
7
7
+
5
5
3
4
œ
œ
0
0
9
F
12
0
0
11
8
10
9
9
12 10
10
10
G
8
9
7
7
1
2
0
5
0
3
3
4
3
5
4
C
E7
Dm
Am
5
3
0
3
0
0
3
5
5
3
1
0
0
1
3
1
2
0
0
1
2
C
0
3
4
1
3
0
0
G7
2
3
5
5
5
7
7
Fm
F
C
29
0
7
œ œ œ œ œ œ œ
œ
œ
œ
œ
œ
œ
b
œ
#œ
˙
˙ œ
˙
˙
3
Am
5
3
œ œ œ œ œ œ œ œ
œ œ œ œ œ œœœœœ œ œ
œ
œ
œ
& œ
œ
œ
œ
˙
˙
˙
œ
˙
˙
C
3
G7
5
25
12
0
j
2
0
3
œ œ œ œ œ œ
œ œ œ œ
œ#œ
œ
& ˙ œ œ #œ
C
C
œ œ
œ œ œ œ œ œ œ œ œ œœ œœ œ œ
˙
b˙
œ
0
C
3
D7
21
10
0
3
œ œ bœ œ œ œ œ
œ
œ
œ
œ œ œ œœ
&
˙
˙
9
0
1
0
C
8
Am
œ œ œ œ œ œ œ œ œ œ
œ œ œ
˙ œ ˙ œ
˙
3
Am
Em
0
1
3
3
90
2
0
1
3
2
1
0
2
3
1
3
1
3
0
Danny Boy
Oh Danny boy, the pipes, the pipes are calling
From glen to glen, and down the mountain side
The summer's gone, and all the flowers are dying
'Tis you, 'tis you must go and I must bide.
But come ye back when summer's in the meadow
Or when the valley's hushed and white with snow
'Tis I'll be here in sunshine or in shadow
Oh Danny boy, oh Danny boy, I love you so.
And if you come, when all the flowers are dying
And I am dead, as dead I well may be
You'll come and find the place where I am lying
And kneel and say an "Ave" there for me.
And I shall hear, tho' soft you tread above me
And all my dreams will warm and sweeter be
If you'll not fail to tell me that you love me
I'll simply sleep in peace until you come to me.
I'll simply sleep in peace until you come to me.
91
Ú
Hard Times Come Again No More
Key of G
# 4
& 4 œj œ
120
j
œ œ œ œ œ œ œœ œ
œ œ œ œ b œœ œ œ
œ
œ
œ
˙
œ
˙ œ
˙
nw
œ
0
0
G7
0
2
0
0
0
0
0
3
&
#
4
œ œ œ. œ œ œ
˙
˙
0
&
8
0
0
2
0
3
0
0
0
0
3
Em
0
3
0
0
3
0
0
Am
2
0
0
D7
2
0
0
0
0
2
Cm
2
3
1
G
3
3
#
2
0
C
œ œ œ œœ œ œ œ œ œ œ œ
œ
˙
˙ œ
˙
˙
C
3
0
0
2
3
G
Arr. by Steve Kaufman
Stephen C. Foster, 1854
G
0
G
0
1
3
2
0
C
œ œ œ˙ œ œ œ
˙
2
0
0
2
1
0
2
0
3
3
œ œ œ œ œ
œ
œ
œ
œ
œ
œ
œ
œ œ œœ
œ
œ
œ
œ nœ
œ˙ œ œ b œœ˙ œ œ
œ
œ
˙
˙
˙
˙
˙
n˙
G
D7
0
0
0
2
0
3
G
2
G7
0
0
0
0
0
0
0
3
0
2
2
0
C
0
3
0
3
1
0
2
2
3
3
3
1
Cm
0
2
0
1
3
2
0
3
# ˙ œ. œ œ œ œ œ œ œ
œœ œ œ œœœ œœœ œ œ œ
œ
œ
œ
& ˙ ˙
œ
œ
œ
œ
œ
œ
œ
œ ˙
œ
˙
˙
˙
˙
˙
˙
˙
3
Em C
G
Em
Am
D7
G
C
G
12
0
0
0
0
3
2
0
3
0
3
0
3
0
0
0
0
2
0
0
0
2
0 2 2
2
0
2
92
2
0
0
3
0
0
0 1
3
0
2
0
0
3
0
0
1
# œ
œ œ
&
œ œ œ
w
G
17
3
0
0
0
3
3
0
&
21
3
0
0
3
3
# œ
Gb
G
2
3
3
4
2
3
˜
G
œ œ œ œ #œ œ œ œ ‰ j œ
œ œ œ
˙ œ
#˙ œ
˙
˙
œ
œ # # œœ œœ
œ
˙ œ
œ œ
G
C#
C
0
0
1
0
5
3
3
5
4
5
3
G
C
G
A
0
3
3
2
0
0
0
3
0
1
0
0
3
3
3
0
2
3
0
D7
3
0
2
0
0
2
4
2
œ œ œ œ œ
œ
˙
0
G7
C
0
0
0
0
0
3
0
2
2
0
0
0
3
3
1
0
3
3
1
0
Em
Em
Am
D7
˙˙
˙
0
0
3
0
0
0
0
2
0
0
2
0
2
0
2
0
2
2
2
3
0
0
1
3
2
G
2
2
0
0
3
93
2
0
0
0
2
0
œ. œ œ œ
˙
3
0
3
C
G
29
3
0
C
# œ
œ œ
œ œ œ œ œœ œ œ œ œ œ œ œ œ œ ˙
&
œ
œ
œ
œ
œ
œ
œ
˙
˙
˙
˙
˙
˙
˙
G
0
3
Cm
25
0
2
2
# œ
œ œ œ œ œ
œ
œ
œ
œ
œ
&
œ
œ
œ nœ
œ˙ œ œ b œœ˙ œ
œ
œ
˙
˙
˙
n˙
G
0
3
0
2
3
3
j
0
3
œœ
œ œœœ
œ
œ œœ œ œ . œ œ œ
œ
œ
œ
œ
œ
œ
œ
˙
˙
w
˙
˙
Em
0
0
0
0
1
3
0
2
0
0
3
2
0
3
Hard Times Come Again No More
Let us pause in life's pleasures
And count its many tears,
While we all sup sorrow with the poor;
There's a song that will linger
Forever in our ears;
Oh hard times come again no more.
While we seek mirth and beauty
And music light and gay,
There are frail forms fainting at the door;
Though their voices are silent,
Their pleading looks will say
Oh hard times come again no more.
There's a pale drooping maiden
Who toils her life away,
With a worn heart whose better days are o'er:
Though her voice would be merry,
'tis sighing all the day,
Oh hard times come again no more.
Tis a sigh that is wafted
Across the troubled wave,
Tis a wail that is heard upon the shore
Tis a dirge that is murmured
Around the lowly grave
Oh hard times come again no more.
Refrain:
Tis the song, the sigh of the weary,
Hard times, hard times,
Come again no more
Many days you have lingered
Around my cabin door;
Oh hard times come again no more.
94
Steve Kaufman’s Instructional Materials - Available at www.flatpik.com
Kaufman’s Favorite Fifty Celtic Hornpipes for Flatpicking Guitar Book and CD
Kaufman’s Favorite Fifty Celtic Jigs and Waltzes for Flatpicking Guitar Book and CD
Kaufman’s Favorite Fifty Celtic Reels A through L for Flatpicking Guitar Book and CD
Kaufman’s Favorite Fifty Celtic Reels L through W for Flatpicking Guitar Book and CD
Classic Arrangements to Vintage Songs – Book with 2 CDs
Band in the Book for Bluegrass Vocals – Book with CD
Band in the Book for Bluegrass Instrumentals – Book with CD
Band in the Book for Gospel Vocals – Book with CD
Bullet Train – The Book with Full CD
Flatpicking the Gospels for Guitar Book with CD and DVD
Flatpicking the Rags and Polkas – Book w/ 2 CDs
Championship Flatpicking Book with CD and DVD
You Can Teach Yourself Flatpicking Guitar with CD and DVD
The Complete Flatpicking Book with CD and DVD
Smokey Mountain Christmas For Guitar-Book with CD
Smokey Mountain Christmas For Mandolin-Book with CD
The Power Flatpicking Fingerboard Book with CD and DVD
Blazing Guitar Solos for One or More Book with CD
The Legacy of Doc Watson - Book
The Anthology of Norman Blake - Book
Flatpicking Banjo Tunes for Guitar - DVD with Booklet
Figuring Out The Fingerboard for Guitar – DVD with Booklet
Learn to Play Waltzes Flatpicking Style - DVD with Booklet
Four-Hour Celtic Workout Book with 4 CDs
Picking Up Speed – DVD with Booklet - Drills for Flatpicking Guitarists
Flatpicking Through The Holidays! - DVD with Booklet
Lead Breaks to Bluegrass Songs Flatpicking Style - Video
Flatpicking With Doc (and Steve) ~ DVD with Booklet
The Art Of Crosspicking - DVD with Booklet
Learn To Flatpick 1 – From the Beginning (Beginner) DVD with Booklet
Learn To Flatpick 2 – Building Bluegrass Technique (Intermediate) DVD with Booklet
Learn To Flatpick 3 – Developing Style and Speed (Low Advanced) DVD with Booklet
Learn To Flatpick 4 – Putting It All Together (Upper Advanced) DVD with Booklet
Easy Gospel Guitar - DVD with Booklet
Basic Bluegrass Rhythm Guitar – DVD with Booklet
Four-Hour Bluegrass Workout Volume 1 - Book with 4 CDs
Four-Hour Bluegrass Workout Volume 2 - Book with 4 CDs
Flatpicking The Gospels for Mandolin Book w/CD ~Audio
Kaufman’s Favorite Fifty Celtic Hornpipes for Mandolin Book and CD
Kaufman’s Favorite Fifty Celtic Jigs and Waltzes for Mandolin Book and CD
Kaufman’s Favorite Fifty Celtic Reels A through L for Mandolin - Book and CD
Kaufman’s Favorite Fifty Celtic Reels L through W for Mandolin - Book and CD
Blazing Mandolin Solos for One or More - Book with CD
20 Bluegrass Mandolin Solos That Every Parking Lot Picker Should Know Volume 1 BK w/ 6 CDs
20 Bluegrass Mandolin Solos That Every Parking Lot Picker Should Know Volume 2 BK w/ 6 CDs
20 Bluegrass Guitar Solos That Every Parking Lot Picker Should Know Vol. 1 BK w/ 6 CDs
20 Bluegrass Guitar Solos That Every Parking Lot Picker Should Know Vol. 2 BK w/ 6 CDs
20 Bluegrass Guitar Solos That Every Parking Lot Picker Should Know Vol. 3 BK w/ 6 CDs
20 Bluegrass Guitar Solos That Every Parking Lot Picker Should Know Vol. 4 BK w/ 6 CDs
20 Swing Tunes Guitar Solos That Every Parking Lot Picker Should Know - Book with 6 CDs
20 Gospel Songs Every Parking Lot Picker Should Know - Book with 6 CDs
Four-Hour Bluegrass Workout for Banjo - Book with 4 CDs
My First Bluegrass Guitar Picking Tunes – Learning to read notes – Level:Beginner Book with CD
95
Steve Kaufman’s Listening Materials – also at www.flatpik.com
CDs * Videos * DVDs
Mystique – CD with Bobby Hicks, Emory Lester, Casey Henry, Mark Cosgrove and more
Stylin’ with guest Red Rector - CD
Back Home with 2 Time Flatpicking Champ Robert Shafer - CD
Circles – Solo Steve - CD
Star Of The County Down with Robin Kessinger - CD
Bullet Train - CD
The Arkansas Traveler - CD
To The Lady - CD
Breaking Out - CD
Winfield Winners – 8 Champs in Concert! Live concert from Kamp – DVD
Steve Kaufman – Flatpicking to the Next Level – Live Show Video – DVD
Strange Company with Nancy Strange, Don Cassell & Will Byers – Cass. Only
An Evening With Steve Kaufman - Live Show Video – VHS Only
Doc's Guitar Jam – Recorded Live at Merlefest w/ Steve Kaufman, T. Rice, D. Crary and
more – VHS or DVD
The Best of the Kamp Concert Series ~ Vol.1 and Vol. 2 CDs – Live from 1998 and 1999
The Best of the Kamp Concerts – Volume 3 - 2 CD set - LIVE from 2000
The Best of the Kamp Concerts – Volume 4 - 2 CD set - LIVE from 2001
The Best of the Kamp Concerts – Volume 5 - 2 CD set - LIVE from 2002
The Best of the Kamp Concerts – Volume 6 - 2 CD set - LIVE from 2003
The Best of the Kamp Concerts – Volume 7 - 2 CD set - LIVE from 2004
Steve’s music is also available on iTunes. Search for Steve Kaufman
Some of Steve’s Goodies
Steve Kaufman’s Flatpicking Kamp Embroidered Denim Shirts
Steve Kaufman's Acoustic Kamp Tie Dyed T-Shirts
Steve Kaufman's Acoustic Kamp Denim cap w/ Suede Bill
Kamp Kazzos, Water Bottles, Seat Cussions, Fly SwattersTote Bags and more
Steve’s Strings – DR Handmade Strings MH .13-.56 or D’Addario Med J-17
Steve Kaufman's Yellow Picks – 10 to a Pack
To receive Steve’s newsletter, catalog or tour schedule call
800-FLATPIK in North America
Outside the N. America +865-982-3808 voice / Fax
Steve Kaufman
PO Box 1020
Alcoa, TN 37701
Order on line and sign up for Steve’s Email List at www.flatpik.com
Questions and Comments to: Steve@flatpik.com
96