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Paul GeremiaFor those into fine fingerstyle country-blues and related styles


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#1 dadfad

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Posted 02 June 2006 - 06:11 AM

I've mentioned Paul Geremia in this forum several times. A few guys in here have heard some of his stuff already and we seem to agree just how good it is. In my opinion (and it's shared by quite a few others knowledgeable in the genre) Paul is the finest solo acoustic fingerstyle traditional country-blues guitarist alive today. Often I'd be sitting around with friends b.s'ing after a jam or whatever and frequently the old question would come up... "Who do you think is the best country-blues fingerstyle guitarist alive, John Jackson in his prime or Paul Geremia?" Of course Time settled that debate on January 21 of 2002, but John once said to me himself "Paul Geremia plays my stuff better than I can play it myself." I don't agree with John necessarily, nobody played his stuff like him, but I can say that Paul played a wider range of styles more authentically to the original artist than any other guitarist I've ever met, seen or heard.

Paul plays both six-string and twelve. He is THE master at 12-string slide in the styles of Blind Willie McTell, Peg-Leg Howell, Barbeque Bob, and others from that old '20s Atlanta 12-string tradition. He can play a six with perfect mastery of the nuances of Blind Lemon Jefferson, Blind Boy Fuller, Blind Blake, Big Bill Broonzy, Bo Carter, Lonnie Johnson, Reverend Gary Davis, Skip James, John Hurt, Charlie Patton, Little Hat Jones, Sam Chatmon, etc, etc, etc. The list is virtually endless. It was difficult to select just a few good tunes of his because he has so many. I narrowed it down to sixteen tunes, which give a pretty decent representative sample of his playing (I didn't include any of his piano-tunes, this being a guitar site). The tunes were recorded over about thirty five or so years from a number of different LPs and CDs he's done.

I first heard of Paul in an unusual way. An electric band I was in way back then had opened a couple of times for the Savoy Brown Blues Band. This was back in the day when I was first becoming "blues-aware." I knew a little... a few names, had some recordings and 78s and had even met a few old guys already. But these Brits really knew their "bluesicology" stuff! After a gig one night our band and theirs were drinking a few beers and sampling a bit of herbal-delight back in the hotel room. Chris Youlden and Kim Simmons were arguing (as usual) about some blues-thing (an old Lemon Jefferson lick in a tune I think... diminished or not!) and one of them mentioned "Man, I caught this guy in a pub across the river (that was New Jersey) last night did that Lemon tune. Paul Jerry-something-or-other. He was fukking great. Never seen nothing like him." I'd never heard of Paul or anything myself yet. And so that was it. Until a few years later. Having now met John Jackson a couple of times by then, John asked me once if I knew Paul (as if all of us white-guys somehow knew each other laugh.gif ) He said "That young man knows my stuff better than I do myself. You oughta look him up." Next time I heard of Paul was again from an old bluesman, Pink Anderson, who said Paul had looked him up about ten years earlier than I had, and before he'd left a week or two later he could play his stuff better than Pink could himself. (Pink was the old bluesman from whom the band Pink Floyd got half of their name.) I met Paul a few years after that, and they weren't wrong.

I can go on and on about how good he is (I already have) and so I'll stop. In the twenty-five or so years I've known Paul since, he's helped me a great deal. At first he was utterly beyond me. If we sat for two hours and I picked up ninety seconds worth of licks and tricks I felt I'd really accomplished something. Second only to my sort-of mentor John Jackson (and possibly Bowling Green John Cephas maybe) I've learned more from Paul over the years than from any other guitarist. In the kind of stuff I'm into most he's sort of the "ultimate guitarist." The one whose ability and style I'd most like to be able emulate if it were possible.

Paul is also probably the best rack-harp player around, accompanying himself on guitar (or blues and boogie-woogie piano, which he's also great at) much of the time. One thing about Paul that immediately caught my attention was that he never "slows down" or simplifies his improv's or playing as he sings. He plays phenominal licks and riffs while he sings or plays rack without slacking off at all. I've tried (with moderate success) to incorporate that a little more into my playing and singing (although I really do slack-off some when I add the rack. Someday (maybe...). And he is not merely a great "cover-musician" for old country-blues. He has his own tunes he has written, as well as being able to carry one of those old covers to the next step beyond where the original artist left it, when he feels like doing that. While he plays gigs almost exclusively solo, he has also played with as varied a group of musicians as you could imagine, from Dave Brubek to John Renbourn to Howard "Louie Bluey" Armstrong. And you'll find his name on the liner notes of a number of albums and CDs when the artist wanted "the best" to sit in on his session.

He is not very well known, except among other musicians in the genre. Roy Bookbinder (a good friend of Paul's) told me once "Paul is his own worst enemy. All he does is drive that broke-down little Chevy back and forth across the damn country playing his little gigs. Or he sits holed-up in that little place of his practicing. Never does a damn thing about trying to promote himself." And Roy (who is quite good at promoting himself laugh.gif ) is kind of right. Not very well-known at all. But extremely respected by his peers, and he has spent the majority of his life doing what he wants, on the road playing his music. His old Chevy is on its fourth engine.


Many years ago an old bluesman I'd been trying to learn a few things from, when we took a break, said to me something like "You young white-boys comin' up now, y'all wanna play it all. You wanna play my stuff jus' like me. You wanna play Fuller jus' like Fuller an' Blake jus' like Blake an' Lemon jus' like Lemon an' Robert jus' like Robert. You gotta remember, all we did back then was our own stuff. That's all we ever practiced and that's all we ever played, and so we got real good at it. We wasn't all spread out all over a dozen bluesmen an' a dozen styles. Nobody is ever gonna be able to play it all jus' like us old-school boys did jus' playin' our own an' nothin' but our own. So just do the best you can, 'cause it can't be done." Over the years I've found his words to be true, with one exception.

And here's a link so you can hear him. I've put these tunes up not so that no one now needs to find or buy his recordings, but so that someone listening who likes this kind of music can become aware of Paul and might want more of his stuff or, better yet, see him perform. He tours continually, now on both sides of "the pond." So anyway, here's the link to sixteen tunes by Paul Geremia.

I'll leave them up for a couple of days.

Un-plugged is not the same as never-was-plugged-in-to-begin-with.

jacksontz.jpg

 

John Jackson -My Teacher and My Old Friend

When the roll is called up yonder he'll be there...


#2 adds

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Posted 02 June 2006 - 07:32 AM

You will love it Gav no doubt about it this bloke can play. John sent me a Cd a good while back now and so far of all the people ive played it to everyone of thems been blown away. The blokes nothing short of s*it hot.


Oh and John cheers smile.gif

#3 dadfad

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Posted 02 June 2006 - 08:15 AM

Glad to do it, Adam. And there's maybe a couple in there that you didn't already have.

Un-plugged is not the same as never-was-plugged-in-to-begin-with.

jacksontz.jpg

 

John Jackson -My Teacher and My Old Friend

When the roll is called up yonder he'll be there...


#4 Lazy_McDoesnothing

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Posted 02 June 2006 - 04:55 PM

Thanks dadfad. I've seen you mention him a lot so i tried to download some of him but i could never really find anything. Keep up the good work cheers.gif

#5 ninjato

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Posted 02 June 2006 - 11:35 PM

I really enjoyed them all. Thanks.

That's the kind of stuff I want to play but always seems to be at a loss at how it's done. Is most of it done w/ open tunings?

I seem to have a hard time trying to figure it out on standard tuning.

Edited by ninjato, 02 June 2006 - 11:36 PM.


#6 halfmoonbay

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Posted 03 June 2006 - 02:16 AM

Excellent. I'm already a convert (and I passed a Geremia CD around at work to folk who are into the genre and they liked it too), this bloke is well worth checking out folks. Will check out those tunes.
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#7 Crawdaddy

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Posted 03 June 2006 - 03:53 AM

Thanks dadfad, I've only listened to the first 3 so far but I can hear its exactly what I like to listen to. Impressive stuff, can't wait to sit down and listen to the rest when I get a spare half hour. Thanks heaps.
SoundClick
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#8 dadfad

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Posted 03 June 2006 - 04:32 AM

Glad to do it. It's excellent stuff.

QUOTE (ninjato @ Jun 3 2006, 03:35 AM) <{POST_SNAPBACK}>
I really enjoyed them all. Thanks.

That's the kind of stuff I want to play but always seems to be at a loss at how it's done. Is most of it done w/ open tunings?

I seem to have a hard time trying to figure it out on standard tuning.


Actually most of the tunes there are in standard tuning, or relative standard (for example PG3-Broke Down Engine is done on a 12-string and played "as if" in E but is tuned down two full steps to the true-pitch of C). I was actually pretty amazed when he first showed me how he'd done that tune in standard tuning because of the tremendous slide-work which seemed so open-D'ish.

There are a few in dropped-D (or relative dropped-D, again down-tuned if on the 12). I consider dropped-D almost standard myself, with a convenient little bass-D available. (It pained me to see dropped-D, a great altered-tuning, become bastardized into the one-finger-power-chord thing it has come to be thought of today. Funny, about fifteen years ago my wife owned a clothing store. Her manager said her boyfriend was in a punk-band but wanted to learn to go farther on acoustic and asked her to ask me if I'd give him some lessons. Finally I said I might, let me meet him and discuss where he is musically, where he wants to go, etc. So I did... ultra-punk "uniform"... shaved and epoxied-spikes, etc, but not being one to care about looks, that didn't mean anything to me (in "my day" I was pretty extreme too I guess). So we were talking music a little (with no instruments) and he'd been playing a couple of years, and he mentioned he did a lot of stuff in dropped-D. Me, being the totally "not with it" guy I am, immediately thought Lonnie Johnson, Duck Baker, Tommy Johnson or some of the other tremendous fingerstyle stuff done in dropped-D over the years. I though the kid really waned to dig into some great fingerstyle. And so we scheduled our first "lesson." laugh.gif laugh.gif laugh.gif (and another laugh.gif ). I'll just say I immediately became aware of "nu-dropped-D!"

Paul's 12-string guitars are old vintage 20s Tonk Brothers guitars which had a pretty long scale-length, very conducive to tuning waaaay down. A great sound, especially on 12-string slide where it has a tremendously brooding rumbly kind of feeling. For example "Skin Game Blues" (originally an old Peg-Leg Howell tune) he plays "as if" in open-D, but tuned down two and a half steps to open Bb.

Anyway, of those sixteen tunes, three are open-tuned (8,10,15) and three are in dropped-D or relative dropped-D (2,7,16). The rest are in standard tuning or relative-standard down-tuned on the 12.

I play or have played all of those tunes myself, with relative degrees of expertise and success (ranging from not-bad-at-all to pretty-lame! laugh.gif ).

Anyway, he really does do some nice work.

Un-plugged is not the same as never-was-plugged-in-to-begin-with.

jacksontz.jpg

 

John Jackson -My Teacher and My Old Friend

When the roll is called up yonder he'll be there...


#9 ninjato

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Posted 03 June 2006 - 11:31 AM

Thanks, I'm gonna have to sit and really listen to these tunes. They don't sound too complicated and manageable.

Do you have any music/tabs to those you can share?

#10 Crawdaddy

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Posted 04 June 2006 - 01:23 AM

QUOTE (Crawdaddy @ Jun 3 2006, 09:53 PM) <{POST_SNAPBACK}>
Thanks dadfad, I've only listened to the first 3 so far but I can hear its exactly what I like to listen to. Impressive stuff, can't wait to sit down and listen to the rest when I get a spare half hour. Thanks heaps.

Got around to listening to the rest of these tunes dadfad. They're sh!t hot. I'm gonna make a point of tracking down some of his cd's. Thanks again.
SoundClick
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#11 ninjato

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Posted 04 June 2006 - 02:12 AM

QUOTE (Crawdaddy @ Jun 4 2006, 05:23 AM) <{POST_SNAPBACK}>
QUOTE (Crawdaddy @ Jun 3 2006, 09:53 PM) <{POST_SNAPBACK}>

Thanks dadfad, I've only listened to the first 3 so far but I can hear its exactly what I like to listen to. Impressive stuff, can't wait to sit down and listen to the rest when I get a spare half hour. Thanks heaps.

Got around to listening to the rest of these tunes dadfad. They're sh!t hot. I'm gonna make a point of tracking down some of his cd's. Thanks again.


Yeah...I could pretty much slap them on CD and listen to them all day.

#12 The_buffalo

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Posted 04 June 2006 - 07:37 PM

He makes "Long Tall Mama" & "West Coast Blues" sound SO easy!


"No matter where you go, there you are" - Jethro Burns

#13 dadfad

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Posted 08 June 2006 - 04:24 AM

QUOTE (The_buffalo @ Jun 4 2006, 11:37 PM) <{POST_SNAPBACK}>
He makes "Long Tall Mama" & "West Coast Blues" sound SO easy!


Yes, deceptively so. I think he actually "out-Blakes" Blind Blake on that intro to West Coast/Come On Down.



QUOTE (ninjato @ Jun 3 2006, 03:31 PM) <{POST_SNAPBACK}>
Thanks, I'm gonna have to sit and really listen to these tunes. They don't sound too complicated and manageable.

Do you have any music/tabs to those you can share?


Not really. I don't use tab myself. I learned them (whether from old recordings or from Paul showing me) by pretty much just finding first the main progression and then working on the improvised voicing-changes and tie-in lines as I moved through it. But I can provide the progressions and chord-forms, tuning information, etc. Even the tab probably if necessary, although tabbing tunes like that (including the necessary explanation needed for working with it, like starting-positions, fingerings tips and sequences, etc) gets pretty horrendous. Surprisingly (maybe) the tune "Holly" was probably the most difficult one for me to finally "get together" (in my mediocre way of course) structurally. Although Paul had shown me the tune several times in the past it I never really "got it" (a lot of almost rote chord voicing memorization in there). One day while giving it a go again after not having messed with it for a long time, it just sort of clicked. (That is one tune where I actually did make a lot of notes for myself regarding the chord-forms I found and used as I went along.)

Un-plugged is not the same as never-was-plugged-in-to-begin-with.

jacksontz.jpg

 

John Jackson -My Teacher and My Old Friend

When the roll is called up yonder he'll be there...


#14 adds

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Posted 08 June 2006 - 05:23 AM

John ive been trying to work holly out for so long now and to be honest i sound like crap and havent really got a clue where im going with it. Basicly i just cant get it. So please i demand you share all info this instant.. please biggrin.gif .


Its a great tune that my favorite of all i think.

#15 dadfad

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Posted 08 June 2006 - 05:47 AM

QUOTE (adds @ Jun 8 2006, 09:23 AM) <{POST_SNAPBACK}>
John ive been trying to work holly out for so long now and to be honest i sound like crap and havent really got a clue where im going with it. Basicly i just cant get it. So please i demand you share all info this instant.. please biggrin.gif .


Its a great tune that my favorite of all i think.


I know exactly how you feel. I felt the same way for a long time. I was just boggled by it, and even seeing Paul play it slowly for me several times over the years did little to help.

I'll get it together for you, Adam. There are about... oh, eighteen or so chords in the basic progression with a few voicing changes around them as they move one into another. I'll list the basic chords sequentially and how I hold them. The one that was most difficult for me I think was the Caug5 6th (second chord in the progression) 402110. Adding that low 6th note (4XXXXX) was the bear, requiring me to hold down this pair of strings (XXX11X) with only the tip of my index in order to make that 6-string note with my pinky stretched out to it. I hold that chord POMIIO. The first four basic chords for the first line are Cmaj7 X32000; Caug5 6th 402110; Am 002210 (and/or Cmaj7 002010) and C7 X323010. Of course there's quite a few little fingering changes (added, removed, "walked", etc) going on as well as you move through those chords.

Anyway, I'll get it together. It's a great tune.

Un-plugged is not the same as never-was-plugged-in-to-begin-with.

jacksontz.jpg

 

John Jackson -My Teacher and My Old Friend

When the roll is called up yonder he'll be there...


#16 adds

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Posted 08 June 2006 - 09:44 AM

The thing is with it is its one of them tunes that on first hearing it instantly has you thinking this souds great and it sounds pretty simple to. Least it was for me. Oh how wrong could i have been sad.gif

#17 rayvon87

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Posted 09 June 2006 - 01:38 AM

Just to give you a little hand, dadfad, I'll post the chords you posted from a thread of mine asking for fingerstyle arrangements. Hope it help...

QUOTE (dadfad @ Mar 9 2006, 07:20 PM) <{POST_SNAPBACK}>
I've started on those chords for "Holly." So far just a VERY basic beginning where I've named the chords of the first position progression (as close as possible. I'm no "theory-master" by a long stretch!). I showed the best fingering (to me). I named the chords using the most common name and on a few I also called the enharmonic name of the chord as it probably would be called using the "rules" in parentheses beside it (just WHO actually calls an Am 002210 an Eaug5sus4 in "real-life" no matter what key the tune is in? laugh.gif ) (Not me anyway!).

So here are some of the basic chords. Actually there are many others as changes are made moving between and within them, but I've tried to narrow it down to just the most important sounding chord-form positions (to me anyway) as I listen.

I'm going to get into this tune a lot more here. This is just what I've done right now. I'm posting them in this very unfinished fashion just so you can mess with them and see how they fit if you want. I haven't (yet) tried to show the... duration... of each chord as you go through the progression. I would just play each one slowly, and then move to the next and see how they (and if you can get them to) fit. They all take up different time-spaces. For example that whole B-ish/E-sh area kinds of flows as almost a single walking chord-in-motion. Same thing with those similar chords related to C and C6-ish area. It's kind of hard to explain and I don't really know the necessary theoretical terms to explain it any better!

I posted these just so you'd have a little bit of a framework to mess with. I intend to do a lot more but this is the start. Most of these chords in the first position aren't too bad, the ones in the second position get a bit more finger-twisting!

Anyway, enough excuses etc...

HOLLY -Basic First Position Chords

Assume all (or most) open-strings below will be used
as either a note or double-stop or in the chord itself
during that part of the progression. These chords shown
are merely "start-points" for arpeggiation ands the
adding of additional notes with minor finger changes
and/or additions to them.


||---|---|---|---|---| Cmaj7
||---|---|---|---|---|
||---|---|---|---|---|
||---|-I-|---|---|---|
||---|---|-M-|---|---|
||---|---|---|---|---|


||---|---|---|---|---| C6aug5
||-I-|---|---|---|---|
||-I-|---|---|---|---|
||---|-M-|---|---|---|
||---|---|---|---|---|
||---|---|---|-P-|---|


||---|---|---|---|---| C6
||-I-|---|---|---|---|
||---|---|---|---|---|
||---|-M-|---|---|---|
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||---|---|---|---|---| C7
||-I-|---|---|---|---|
||---|---|-P-|---|---|
||---|-I-|---|---|---|
||---|---|-R-|---|---|
||---|---|---|---|---|


||---|---|---|---|---| Fmaj7
||-I-|---|---|---|---|
||---|-M-|---|---|---|
||---|---|-R-|---|---|
||---|---|---|---|---|
||-T-|---|---|---|---|


||---|---|---|---|---| D9
||-I-|---|---|---|---|
||---|-M-|---|---|---|
||---|---|---|---|---|
||---|---|---|---|---|
||---|-T-|---|---|---|


||---|---|---|---|---| B 5b 7 sus4
||---|---|---|---|---|
||---|-M-|---|---|---|
||---|---|-R-|---|---|
||---|---|---|---|---|
||-T-|---|---|---|---|


||---|---|---|---|---|  E11dim9/Bm11b5
||---|---|---|---|---|
||---|-R-|---|---|---|
||---|---|---|---|---|
||---|-M-|---|---|---|
||-T-|---|---|---|---|


||---|---|---|---|---| E7
||---|---|---|---|---|
||-I-|---|---|---|---|
||---|---|---|---|---|
||---|-M-|---|---|---|
||---|---|---|---|---|


||---|---|---|---|---| Am (Eaug5sus4)
||-I-|---|---|---|---|
||---|-R-|---|---|---|
||---|-M-|---|---|---|
||---|---|---|---|---|
||---|---|---|---|---|


||---|---|---|---|---| Asus4 (E7sus4)
||---|---|-P-|---|---|
||---|-R-|---|---|---|
||---|-M-|---|---|---|
||---|---|---|---|---|
||---|---|---|---|---|


||---|---|---|---|---| C6/3
||-I-|---|---|---|---|
||---|---|---|---|---|
||---|-M-|---|---|---|
||---|---|---|---|---|
||---|---|-R-|---|---|


||---|---|-P-|---|---| C6(+6)
||-I-|---|---|---|---|
||---|---|---|---|---|
||---|-M-|---|---|---|
||---|---|---|---|---|
||---|---|---|---|---|


||---|---|---|---|---| Fmag7
||-I-|---|---|---|---|
||---|-M-|---|---|---|
||---|---|-R-|---|---|
||---|---|---|---|---|
||-T-|---|---|---|---|


||---|---|---|---|---| D9
||-I-|---|---|---|---|
||---|-M-|---|---|---|
||---|---|---|---|---|
||---|---|---|---|---|
||---|-T-|---|---|---|


||---|---|-P-|---|---| Gsus4(+3)
||-I-|---|---|---|---|
||---|---|---|---|---|
||---|---|---|---|---|
||---|-M-|---|---|---|
||---|---|-R-|---|---|


||---|---|-P-|---|---| G
||---|---|---|---|---|
||---|---|---|---|---|
||---|---|---|---|---|
||---|-M-|---|---|---|
||---|---|-R-|---|---|


||---|---|---|---|---| Cmaj (and into next prog)
||---|---|---|---|---|
||---|---|---|---|---|
||---|-I-|---|---|---|
||---|---|-M-|---|---|
||---|---|---|---|---|


||---|---|---|---|---|
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Progression from second position

-v- (from _____ fret)

-|---|---|---|---|---|---
-|---|---|---|---|---|---
-|---|---|---|---|---|---
-|---|---|---|---|---|---
-|---|---|---|---|---|---
-|---|---|---|---|---|---


-v- (from _____ fret)

-|---|---|---|---|---|---
-|---|---|---|---|---|---
-|---|---|---|---|---|---
-|---|---|---|---|---|---
-|---|---|---|---|---|---
-|---|---|---|---|---|---


-v- (from _____ fret)

-|---|---|---|---|---|---
-|---|---|---|---|---|---
-|---|---|---|---|---|---
-|---|---|---|---|---|---
-|---|---|---|---|---|---
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-v- (from _____ fret)

-|---|---|---|---|---|---
-|---|---|---|---|---|---
-|---|---|---|---|---|---
-|---|---|---|---|---|---
-|---|---|---|---|---|---
-|---|---|---|---|---|---


-v- (from _____ fret)

-|---|---|---|---|---|---
-|---|---|---|---|---|---
-|---|---|---|---|---|---
-|---|---|---|---|---|---
-|---|---|---|---|---|---
-|---|---|---|---|---|---


-v- (from _____ fret)

-|---|---|---|---|---|---
-|---|---|---|---|---|---
-|---|---|---|---|---|---
-|---|---|---|---|---|---
-|---|---|---|---|---|---
-|---|---|---|---|---|---


Bridge

||---|---|---|---|---|---|---|---|---|---|---|---|---
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Tommy Emmanuel C.G.P.

#18 dadfad

dadfad

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Posted 09 June 2006 - 04:44 AM

Thanks, Rayvon. That helps. It saves me copying down quite a few chords from my scrawled notes! I'll get together the starting chords and voicings I used farther up the neck for the little "jazzier" repeat of the progression and then the little bridge-like section that reconnects it to the main-theme prog again. I don't know if you listened to this version of "Holly" linked above, but it is superior to that live-recording clip (i/m/o) that I'd linked with that previous topic that had those chords posted in it. You might want to check it out if you haven't already. Anyway, thanks for digging that up!



(I see back then I called the third chord as a Cmaj7 instead of an Am. Actually it's either/both as that one finger is added and removed during its time-space (along wth others!). I edited my earlier above post to show it as both Am and Cmaj7.)

Un-plugged is not the same as never-was-plugged-in-to-begin-with.

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John Jackson -My Teacher and My Old Friend

When the roll is called up yonder he'll be there...


#19 rayvon87

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Posted 09 June 2006 - 11:15 PM

I not only listened to it, but downloaded it and haven't listened to anything else since. biggrin.gif It's such a magnificent tune, I'd love to be able to play it.
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#20 dadfad

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Posted 16 June 2006 - 08:19 AM

QUOTE (rayvon87 @ Jun 10 2006, 03:15 AM) <{POST_SNAPBACK}>
I not only listened to it, but downloaded it and haven't listened to anything else since. biggrin.gif It's such a magnificent tune, I'd love to be able to play it.


Just wanted to say I have now just finished scrawling down on paper (legibly! laugh.gif ) all the basic chords and chord-fragments I have used in the tune from the first progression into the the second form of the progression and the connecting-bridge part that returns you once again to the first main progression on paper. I know it's fairly acurate to the tune on the recording. It's quite a string of chord-shapes (as you can well imagine). I'll begin putting them on Notepad later today or tomorrow. It'll probably take me a day or so to list them as I finger them (as well as well as to determine just what their proper names probably are. They aren't easily-called chords for the most part. Not for a theory-cretin like myself anyway!). All I'll do is string the shapes in a line (with maybe a very brief note about a relatively important change here or there on a few) and from that point leave it up to you to apply your own fingerstyle techniques to them. (Or, as I do myself when I play the tune... "fake it!" laugh.gif )

I conceptualize the tune like this: It has a "main theme progression" {Part A}; a "secondary theme progression" where he plays a similar progression but made up of mostly chord-frags higher up the neck {Part B} with a "connecting bridge" {Part C} which is actually the end of the Part B progression as it descends the neck connecting it back into another Part A progression. The entire tune is basically made up of these three sections put together as:
Part A
Part A
Part B
Part C
Part A
Part B
Part C
Part A

While none of the repeating sections is done identically to another one, they are very close in form and just a difference in how he improvises as he moves through it. So doing a breakdown of a single Part A; Part B and Part C pretty much covers the tune.

To actually try to tab the tune note-for-note would be (for me anyway) an un-Godly Hurculean task!


Anyway, I haven't forgotten!

Un-plugged is not the same as never-was-plugged-in-to-begin-with.

jacksontz.jpg

 

John Jackson -My Teacher and My Old Friend

When the roll is called up yonder he'll be there...




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