Country Blues Guitar In Open Tunings - Stefan Grossman's Guitar ...

CountryBlues GuitarIn OpenTuningstaught byStefanGrossman

EXPLANATION OF THE TAB SYSTEM“…Learning from listening is unquestionably the best way, theonly way that suits this kind of music. You are setting the notesdown for a record of what happened, a record that can be studied,preserved and so on, a necessary and useful companion to therecordings of the actual sounds. I keep thinking of this as Itranscribe; if you could do it, it would be good to have a legendacross each page reading : ‘Listen to the record if you want to learnthe song.’”Hally Wood (taken from the Publisher’s Forewordto the New Lost City Ramblers Songbook.)Copyright © 1965 Oak PublicationsAll rights reserved. Used by permission.Generally for fingerpicking styles you will be playing the thumb,index and middle fingers of your picking hand. To indicate thepicking finger in tab the stems go up and line up down from thenumbers.A. A stem down means that your thumb strikes the note.B. If a stem is up, your index or middle finger strikes the note.The choice of finger is left up to you, as your fingers willdictate what is most comfortable, especially when playinga song up to tempo!C. The diagram below shows an open sixth string played withthe thumb followed by the second fret of the third stringplayed with the index or middle finger:These words are most suitable for introducing the tablaturesystem, for tablature is just a guide and should be used inconjunction with the recordings. Tablature is not like musicnotation, however the combination of tab and music in anarrangement forms a complete language. Used together with theoriginal recordings they give a total picture of the music.The tab system does not attempt to show rhythms or accents.These can be found on the music or heard in the recordings. Musicnotation tackles these articulations to a degree, but the overallsensations, the feel and the soul of music cannot be whollycaptured on the written page. In the words of the great Sufi HazratInayat Khan: “…The traditional ancient songs of India composedby great Masters have been handed down from father to son. Theway music is taught is different from the Western way. It is notalways written, but is taught by imitation. The teacher sings andthe pupil imitates and the intricacies and subtleties are learned byimitation.”This is the theme I’ve tried to interpolate into the tablature.Tablature is the roadmap and you are the driver. Now to the tab:Each space indicates a string. The top space represents the firststring, second space the second string, etc. A zero means an openstring, a number in the space indicates the fretted position, forinstance a 1 in a space indicates the first fret of that string.123456In the diagram below the zero is on the second string andindicates the open second string is played. The 1 is placed on thethird string and signifies the first fret of the third string. Likewise,the 4 is in the fourth space and indicates the fourth fret of thefourth string.123456014212345612345601) 2) 3) 4)2In most cases the thumb will play an alternating basspattern, usually on the bass strings. The index and middlefingers play melodic notes on the first, second and third strings.Please remember, this is not a rule; there are many exceptions.In fingerpicking there are two “picking” styles: Regularpicking and “pinching” two notes together. A pinch is shownin the tab by a line connecting two notes. A variation of this canalso be two treble notes pinched with a bass note. Follow theexamples below from left to right:5) 6)313 13 30 1 11) The open sixth string is played with the thumb.2) The first fret of the sixth string is pinched together with thethird fret on the third string. The sixth string is played withthe thumb, the third string with the index finger.3) The thumb strikes the third fret of the fourth string.4) The first fret/sixth string is played with the thumb; it’spinched with two notes in the treble. The index and middlefingers strike the first fret/first string and the third fret/second string.5) The next note is the index finger hitting the first fret/secondstring.6) Lastly, the bass note is played with the thumb on the thirdfret/fourth string.There are certain places in blues and contemporary guitar thatcall for the use of either strumming techniques or accented bassnotes. The tab illustrates these as follows:1234561) 2) 3) 4) 5)E0000001y 12i 1t2 20 0

1234561) The thumb hits the open sixth string and the second fret onthe fifth string should also sound. For example, play an Echord. Now strike the open string and vary the force of yourattack. Try hitting it hard enough so that the fifth stringvibrates as well. This technique is very important fordeveloping a full sound and the right alternating basssound.2) Next the arrow notation indicates a brush and the arrowhead indicates the direction of the brush.A. If the arrowhead is pointed down, the hand brushes uptowards the sixth string.B. If pointed up, the hand brushes down towards the firststring.C. The number of strings to be played by the brush isshown by the length of the arrows. For example, thisarrow shows a brush up toward the sixth string, butindicates to strike only the first, second and third strings.D. The brush can be done with your whole hand,index finger or middle and ring finger. Let comfort plusa full and “right” sound guide your choice.3) The third set of notes again shows the sixth string/openbass note played with the thumb and being struck hardenough to make the fifth string/second fretted positionsound.4) Once more an arrow pointed downward indicates a brushup. This example forms an E chord and the brush upincludes the first, second, third and fourth strings.5) The last set of notes has an arrow pointed upward, indicatinga brush downward striking the first, second, and thirdstrings.Here are several special effects that are also symbolized intablature:1) 2)2 3H3) 4) 5)78 W9 P712 •12 •2 – 43) HARMONICS: Symbolized by a dot (•). To play a harmonic:gently lay your finger directly above the indicated fret (don’tpress down!) The two notes in the example are bothharmonics. The first on the twelfth fret/third string isplayed with the index/middle finger, while the secondnote—twelfth fret/fourth string—is played with the thumb.4) SLIDE: Shown with a dash (–). Play the second fret/sixthstring and then slide up to the fourth fret of the sixth string.This is a continuous movement: the string is struck oncewith your thumb.5) PULL-OFF: “P” designates a “pull-off.” Fret both the seventhand ninth frets on the second string. Play the ninth fretwith your index/middle finger and then quickly remove itin the same stroke, leaving the seventh fret/second string.Pull-offs are generally in a downward direction.6) In certain cases other specific symbols are added to the tab,for instance:A. For ARTIFICIAL HARMONICS an “X” is placed after thefretted position.B. For SNAPPING a note an indication may be given witha symbol or the written word.Many times these special techniques are combined, for instanceputting a pull-off and a hammer-on together. Coordinationof your fretting and picking hands will be complex initially, but theend results are exciting and fun to play.PICKING HAND POSITION FOR FINGERPICKING STYLES:The Classical and Flamenco schools have strict right-hand rules,however for this style of acoustic fingerpicking there are NORULES, only suggestions. Your right hand position should bedictated by comfort, however in observation of many well-knownfingerpickers I found one hand position similarity—they all tend torest their little finger and/or ring finger on the face of the guitar.This seems to help their balance for accenting notes and controlof the guitar. Experiment with this position: it may feel uncomfortableat first. I ask my students to perfect this position and thencompare the sound to when their finger(s) were not placed on theface of the guitar. They usually find the sound is greatly improvedwhen some contact is kept with the guitar face.1) HAMMER-ON: Designated by an “H” which is placed afterthe stem on the fret to be hammered. In the exampleabove, fret the second fret/fifth string and pick it with yourthumb. Then “hammer-on” (hit hard) the third fret/fifthstring, i.e. fret the third fret/fifth string. This is an all-in-one,continuous motion which will produce two notes rapidlywith one picking finger strike.MUSIC NOTATION: We have somewhat adapted the musicnotation in that this also shows whether the note is picked withyour thumb or index/middle fingers. The stems of the music notescorrespond to the direction of the tab stems. I hope this will makethe music notation clearer to fingerpicking guitarists.2) WHAM: Designated by a “W.” In the example the eighthfret/second string is “whammed” and played with theseventh fret/first string. Both notes are played togetherwith your index and middle fingers respectively. Thewhammed note is “stretched.” We do this by literallybending the note up. We can “wham” the note up a halftone, full tone, etc.3I hope you will feel at home and comfortable with the tablatureand musical notations. Remember, these are only road mapsindicating where and how you should place your fingers. Theplaying and musical interpretation is up to you.

Open D Tuning: DADF≥AD& # # 4 4œAåÔDœœ˙.œ2 — 40œœ0 00 0VESTAPOLœ ˙.œœ2 — 4œœ0 00 0œœœ œ œ œ œœ œœ2 — 4 00 2H 00 00 0& # #œ ˙.œœœœœœœ œ œ œ œœ œœœœœ œ œ œ œœ œœÔ2 — 40 02 — 4 00 2H 00 02 — 4 00 2H00 00 00 00 0& # #Ô& # #Ôœœœ œœjœ œœœj œ2 — 4 00 2H0 00 0œ œ œ j œ œœ œ œ œj œ00 2H 0 2H0 02 2˙œ00DÓœ œ # œ00 1˙ ‰ j œ œœ œœ œ00 20 00 0j‰ œ œ œ œ œœ œ œ œG0 02 0 2H0 02 2jœ œœœjœjœjœ . œœ0 2 2 -4 0œ0 00 04

& # #ÔG‰ j Œ œ ‰ œ œœ œ œ œ02 0 2H10 02 2œ œ œ j œ œœ œ œ œj œ00 2H 0 2H0 02 2D˙ ‰ j œ œœ œœ œ00 20 00 0& # #Ôjœœœœjœjœjœ . œ0 2 2 -4 0œ0 00 0œA‡jŒ œ œ œœ œœœjœ20 012 20 0& # #jœœœœj œ œœœD˙œœ‰ œœœjœwœœœœÔ2 00 22 20 000 2H00 00 000 00 0& # #œBåÔDjœ œ j nœœœj œ œ j œœœ9 P708 00 00 0jœ œ j nœœœj œ œ j œœœ9 P708 00 00 06

& # #jœ œœœj nœj œ œ.œœ˙œœÓœœjœ œœœj nœj œ œœœj œÔ9 P7780 000 00 09 P708 00 00 00 00 0& # #jœ œœœj nœj œ œœœj œjœ œœœj nœj œ œ.œœ˙œÓœ œ # œÔ9 P708 00 00 09 P7780 00 00000 1& # #Gj‰ œ œ œ œ Œœ œ œ œj j‰ œ œ œ œ.œ œ œ œD˙ ‰ j œ œœ œœ œÔ02 210 02 202 20 02 200 20 00 0& # #jœ œœœjœjœjœ . œœœG.‰ œ j.‰ œ œ j œœ œ œ œ.‰ œ j ‰ œ œ.œ œ œ œÔ0 2 2 -4 00 00 02 21 10 02 22 210 02 27

& # #D˙ ‰ j œ œœ œœ œjœ œœœjœjœjœ . œœœA‡jŒ œ œ œœœœœjœÔ00 20 00 00 2 2 -4 00 00 020 012 20 0& # #Ô& # #œCåÔjœœœœj œ œœœ2 00 22 20 0jœ œ.œœjœ œ.œ9 – 1290 0œ0 0D˙œ0œ‰ œœœjœ0 2H00 00 0˙œœn˙Áœœ78 W0 00 0wœ0jœ œœœœœ0 00 0œj nœœ œœœ9 78 80 00 0& # #wœœœœjœ œœœj nœj œ œœœj œjœ œœœj nœj œ œœœj œÔ000 09 P708 00 09 P708 00 00 00 00 08

& # #jœ œœœj nœj œ œ.œœ˙œÓœ œ # œG.‰ œ j.‰ œ œ j œœ œ œ œÔ9 P7780 00 00000 12 21 10 02 2& # #.‰ œ j œ‰ œ.œ œ œ œD˙ ‰ j œ œœ œœ œjœ œœœjœjœ . œœœÔ2 210 02 200 20 00 00 2 4 00 00 0& # #G‰ œ œ œ œ œœ œ œ œjœ œ œ œ œœ œ œ œjœÔ0 00 2H 0 2H0 02 200 2H 0 2H0 02 2& # #D˙ ‰ j œ œœ œœ œjœ œœœjœjœjœ . œœœA‡jŒ œ œ œœœœœjœÔ00 20 00 00 2 2 -4 00 00 020 012 20 09

& # #Ôœ œ œ j œ œœ œ œ œj œ00 2H 0 2H0 02 2D˙ ‰ j œ œœ œœ œ00 20 00 0jœ œœœjœjœjœ . œœ0 2 2 -4 0œ0 00 0& # #G‰ œ œ œ œ œœ œ œ œjœ œ œ œ œœ œ œ œjœÔ0 00 2H 0 2H0 02 200 2H 0 2H0 02 2& # #D˙ ‰ j œ œœ œœ œjœ œœœjœjœjœ . œœœGŒ jœ œ.œ œ œ œÔ00 20 00 00 2 2 -4 00 00 0200 02 2& # #(G≥)n˙nœœ(A)# ˙# œœD˙œ‰ œœ œœjœ˙˙·Ô3 42} 3}0 03 4dampdamp00 2H00 00 00 12•12•0 12•o11

JOHN HENRYOpen D Tuning: DADF≥AD& # # 4 4œœœœj jœ œœJ œ œ œ œ œj .œ œjœœ Œ n˙œ œ nœœÔ0 20 22 -5 50 00 02 -555 30 05 3& # #nœnœjœ œ œ œœœœ œj œœ Œ n˙œ œ nœœj j jœ œ œ œœœ œ œ œ œjœÔ03 — 5 50 03 — 5 505 30 05 32 – 5 50 00 02 – 5 5& # #n˙˙nœœ œ œj jœ. œ œ œœ œ œ œjœj jœ. œ œ œ.œ œ œ œÔ3 20 03 20 00 00 00 02 0 20 02 0& # #j jj .œ œ œ œ œJ œ œ œ œ œj œn˙˙nœœ œ œœ.j nœœ J œ ‰j œ #œ.œœÔ2 -5 50 00 02 -5 53 20 03 2000 30 0012

& # #œ.œœjœjœ œ.œœn˙Áœœjœ œÁ .œœ. œœœj œj œ œ.œœÔ00 2H0 000 03 W 3 W0 00 00 00 2H0 00 0& # #n Á˙œœjœ œÁ .œœ. œœœj œj œ œ.œœn Á˙œœjœ œÁ .œœÔ3W03W0 00 00 2H0 03W03W0 00 00 00 0& # #. œœœj œj œ œœœj œ˙œœjœ œœœjœ˙ œ œœ œ œœÔ0 00 2H 20 00 000 20 00 00000 20 2& # #j .j jœ œ œ œ œJ œ œ œ œ œj œœ Œ n˙œ œ nœœnœnœjœ œ œœœœ œ œj œÔ2 -5 50 00 02 -5 55 30 05 33 — 5 50 00 03 — 5 513

& # #œ Œ n˙œ œ nœœj j jœ œ œ œœœ œ œ œ œjœn˙˙nœœ œ œÔ5 30 05 32 – 5 50 00 02 – 5 53 20 03 2& # #j˙ œ œœ œ œ œj œj jœ. œ œ œ.œ œ œ œj .j jœ œ œ œ œJ œ œ œ œ œj œÔ000 00 002 0 20 02 02 -5 50 00 02 -5 5& # #n˙˙nœœ œ œœ.j nœœ J œ ‰j œ #œ.œœœ.œœjœjœ œ.œœÔ3 20 03 2000 30 0000 2H00 00 0& # #n˙Áœœjœ . œœœ. œœœj œj œ œ.œœn˙Áœœjœ . œœœÔ8 W00 0000 00 2H0 00 08 W00 00 014

& # #Ô& # #. œœHIGH PARTÔ& # #Ôœj œj œ œ.œœ0 00 2H0 00 0nœœœœœœ7 90œœ0jœ œ.œ10 – 12 12œ0 00 0n˙Áœœjœ œÁ .œœ8 W 8 W0 00 0jœ œ.œœjœ œ.œ9 – 12120 0˙œ. œœœj œj œ œœœj œ0 00 2H 20 00 0œ0 0œn˙œ12 10œ0 00 0jœ˙œ˙œœn˙œ12 10Uww00œ0 00 0œjœ œœ7 -12120 0œ0 0jœ0& # #n˙œœ˙œœ˙œœjœ œœœj œœ.œœjœjœ œ.œœÔ10 90 07 70 009 7 90 00 00 00 015

& # #jœ˙œœjœ œœœjœn˙œœ˙œœ. œœœj nœÁœ j œ.œœÔ7 -12 120 0010 90 07 78 W0 00 00 00 0& # #. œœœj œj œ œ.œœn˙Áœœjœ œÁ .œœ. œœœj œj œ œ.œœÔ0 00 2H0 03 W 3 W0 00 00 2H0 00 00 00 0& # #n˙Áœœjœ œÁ .œœ. œœœj œj œ œ.œœn˙Áœœjœ œÁ .œœÔ8W8W0 00 00 2H0 03 W 3 W0 00 00 00 0& # #. œœœj œj œ œ j œœœ˙œœjœ œœœj œ˙œœœœœœÔ0 00 2H 00 000 2H00 00 7 90 00 00 00 016

& # #jœ œ.œœjœ œœœjœ˙œœn˙œœnœœœœjœ œœœjœÔ9 – 12 120 0012 100 010 – 12 120 000 00 00 0& # #˙œœn˙œœnœœœœjœœœœjœn˙œœ˙œœÔ12 100 010 – 12 120 0010 90 00 00 00 0& # #˙œœjœ œœœj œœ.œœjœjœ œ.œœjœ˙œœjœ œœœjœÔ7 70 009 7 90 09 -12 120 000 00 00 0& # #n˙œœ˙œœ. œœœj nœÁœ j œ.œœ. œœœj œj œ œ.œœÔ10 90 07 78 W0 00 00 2H0 00 00 00 017

& # #n˙Áœœjœ œÁ .œœ. œœœj œj œ œ.œœn˙Áœœjœ œÁ .œœÔ3 W 3 W0 00 00 2H0 08 W 8 W0 00 00 00 0& # #. œœœj œj œ œ.œœn˙Áœœjœ œÁ .œœ. œœœj œj œ œœœj œÔ0 00 2H0 03 W 3 W0 00 00 2H 20 00 00 00 0& # #˙œœjœ œœœj œ˙˙Ô00 2H00 000 0018

JOHN HENRYWhen John Henry was a little baby boy, sitting on the his papa’s kneeWell he picked up a hammer and little piece of steelSaid, Hammer’s gonna be the death of me, Lord, LordHammer’s gonna be the death of meThe captain said to John HenryI’m gonna bring that steam drill aroundI’m gonna bring that steam drill out on the jobI’m gonna whup that steel on downJohn Henry told his captainLord a man ain’t nothing but a manBut before I’d let your steam drill beat me downI’d die with a hammer in my handJohn Henry said to his shakerShaker, why don’t you singBecause I’m swinging thirty pounds from my hips on downJust listen to that cold steel ringJohn Henry said to his shakerShaker, why don't you prayCause if I miss this little piece of steelTomorrow be your burying dayNow the captain said to John HenryI believe that mountain’s caving inJohn Henry said right back to the captainAin’t nothing but my hammer sucking windNow the man that invented the steam drillHe thought he was mighty fineBut John Henry drove fifteen feetThe steam drill only made nineJohn Henry hammered in the mountainsHis hammer was striking fireBut he worked so hard, it broke his poor heartAnd he laid down his hammer and he died19

Now John Henry had a little woman,And the dress that she wore was redShe started down the track and she never looked backGoing where John Henry lies deadJohn Henry had a little womanHer name was Polly AnneJohn Henry was barely in the groundPolly Anne was driving steel like a manJohn Henry had a little babyYou could hold him in the palm of your handAnd the last words I heard that poor boy sayMy daddy was a steel driving manSo every Monday morningWhen the blue birds begin to singYou can hear John Henry a mile or moreYou can hear John Henry’s hammer ring20

IF YOU DON’T WANT MEOpen D Tuning: DADF≥AD& # # 4 4Ô(D)jœ œ.œ œœ œ œ œ2 4 0 22 4 0 2œ œ œ œ jœnœœj œ # œœ0 0 02 200 30 0& # #œ œ œ œ jœnœ#œ.œœj j jn œ # œ œ œœ.œ œÔ02 20 300 00 0 03 02 0& # #j j jn œ # œ œ œœ.œ œA‡jœœœœjœjœœœjœÔ0 0 03 02 02 00 012 20 0& # #Ô(D)œ œ œ œ jœnœœj œ # œœ0 02 200 30 0œ œ œ œ jœnœ#œ.œ02 20 30œ0 021

& # #Ô(D)jœ œ.œ œœ œ œ œ2 4 0 22 4 0 2œ œ œ œ jœnœœj œ # œœ0 0 02 200 30 0& # #Ôœ œ œ œ jœnœ#œ.œ02 20 30œ0 0j j jn œ # œ œ œœœ œ0 0 0 03 02 0jœ& # #j jn œ # œ œ œ ˙œ œA‡jœ œ jœ œœjœœœjœÔ0 03 02 02 2 0012 20 0& # #Ô(D)œ œ œ œ jœnœœj œ # œœ0 02 200 30 0œ œ œ œ jœnœ#œ.œ02 20 30œ0 022

& # #Ô(D)jœ œ.œ œœ œ œ œ2 4 0 22 4 0 2œ œ œ œ jœnœœj œ # œœ0 0 02 200 30 0& # #Ôœ œ œ œ jœnœ#œ.œ02 20 30œ0 0j j jn œ # œ œ œœ.œ œ0 0 03 02 0& # #j j jn œ # œ œ œœ.œ œA‡jœ œ jœ œœjœ œ.œÔ0 0 03 02 02 2012 20 0& # #Ô(D)œ œ œ œ jœnœœj œ # œœ0 0 02 200 30 0œ œ œ œ jœnœ#œ.œ02 20 30œ0 023

IF YOU DON’T WANT ME(Mississippi John Hurt lyrics)If you don’t want me, baby, got to have me anyhowIf you don’t want me, baby, got to have me anyhowIt was late last night when everything was stillWell, me and your baby eased out on the hillI tried my best to do my father’s willI tried my best to do my father’s willDon’t want me, baby, got to have me anyhowDon’t want me, baby, got to have me anyhowThe sun go down, ain’t this a lonesome place?The sun goin’ down and ain’t this a lonesome place?So lonesome here, can’t see in my baby’s faceIt’s so lonesome here, I can’t see in my baby’s faceYou don’t want me, baby, got to have me anyhowDon’t want me, baby, got to have me anyhow24

WORKING ON THE NEW RAILROADOpen G Tuning: DGDGBD& # 4 4ÔVERSEGœ.œœjœjœ œ.œœ0 2 P00 00 00 0œ # œœ œ ˙œ œœ02 3 00 00 0Cœ.œœjœ œ œ œ œœ2 0 2 P01 102 20 0& #Gœœœœjœ œ.œœC.œ.œœjœ œœœœjœ œœœj œ ˙œœÔ02 — 4 00 00 07 5 7 955 55 57 555 55 5& #jœ œœœjœ œ œ œœGœ.œœjœjœ œ.œœœ # œœ ˙œœœœÔ55 57 75 55 50 2 P000 00 002 3 00 00 0& #Cœ.œœjœ œœœGjœ œœœjœ˙œœœ.œœjœjœ œœœjœÔ2 0 2 012 20 02 0 2 – 50 0 00 50 00 2 P000 00 0225

& #œ # œœ œ ˙œ œœD‰ œ œ œ œ œ œ œ œ‰ œ œ œ œ œ œœ œ œ œÔ03 00 00 000 02 20 02 200 02 20 02 2& # G .. Dœ œ.œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ.J œ œ œ œ œ ˙œ œ œ œ˙BRIDGEÔÔ0000e0 2H 0 2 00 2H 0 2 00 00 02 20 02 20 00 0e0 0t00.0 00 02 20 02 2& # G .‰ œ œ œ .œ .œ œ œ œ œ œœ œ œ œ œ œ œ œ œœ.J œ œ œ œ œ ˙ ˙0000e0 2H 0 2 00 2H 0 2 00 00 0e0 0t00.& #VERSEÔGœ.œœjœjœ œ.œœ0 2 P00 00 00 0œ # œœ œ ˙œ œœ02 3 00 00 0Cœ.œœjœ œ œ œ œœ2 0 P0 21 102 20 026

& #Gœœœœjœ œ.œœC.œ.œœjœ œœœœjœ œœœj œ ˙œœÔ02 — 4 00 00 07 5 7 955 55 57 555 55 5& #jœ œœœjœ œ œ œœGœ.œœjœjœ œœœjœœ# œœ œ ˙œ œœÔ55 57 75 55 50 2 P000 00 0203 00 00 0& #Cœ.œœjœ œ œœœGjœ œœœjœ˙œœœ.œœjœjœ œœœjœÔ2 0 2 01 1 12 20 02 0 2 – 50 00 50 00 2 P000 00 02& #œ # œœ œ ˙œ œœD‰ œ œ œ œ œ œ œ œ‰ œ œ œ œ œ œœ œ œ œÔ03 00 00 000 02 20 02 200 02 20 02 227

& # G .. Dœ œ.œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ.J œ œ œ œ œ ˙œ œ œ œ˙BRIDGEÔÔ0000e0 2H 0 2 00 2H 0 2 00 00 02 20 02 20 00 0e0 0t00.0 00 02 20 02 2& # .1.G‰ œ œ œ .œ .œ œ œ œ œ œœ œ œ œ œ œ œ œ œœ.J œ œ œ œ œ ˙ ˙0000e0 2H 0 2 00 2H 0 2 00 00 0e0 0t00.& #Ô2.˙˙gg˙˙000 000 0028

SPECIAL RIDEROpen G Tuning: DGDGBD& # 12 8Ô& #jœINTROœj#œ0 1 2jnœœj œn J œ œj œjœ # œ œ nœœ n . . œœ.œ J œ nœ.œ0 0 0 3 32 1 0 00 t30j œ œ nœœ œ j œJ œ J œ J œ œ nœœ œ.bœŒ.J œ0jœÔ3 -5 3 -5 3 -5 — 3 0 3 0 0 03 -5 3 -5 3 -5 — 3 0 33 W 0& # jj jŒ b œ œ.Œœ nœ8 6 12 8œ.œJ œœ œœ j œ jœ bœœ Œ.˙.Ô0 0 0 3 W13 W 3 W 200 0& # 12 j j j jŒ.8 bœœ œ œ œ j Œ8 6œ œ bœœ œœ œ œ j œ˙ . n˙.˙ . n˙.0013 WÔ00 0 013 W 2 03 W00 0 010 3 P20 03 W29

& # 8 6 jŒ. œœ12 8˙.Ô00 00 000uVERSEœ œ œ œœ œ œ . œ œ.jœ œJ œ .œœ œ.œ2 -5 5 5 5 5 5 50 0 02 -5 5 5 5 0J œ& #ÔŒ. nœn œ. œ œ œ ˙.œœ.03 3 3 30 03 3œ bœj œ3 W 0Œ. bœjœ œ˙ . n˙.0jœ œj œ0 0 013 W 2 03 W& # jjŒœ bœœ œœ œ œ j8 6 Œ. 12œ œ. 8˙ .n˙.˙.Ô00 0 010 3 P20 03 W00000u& # 12 8jœ œ œ œ œ œ œ œœ œ œJ œ œ . œ . œ.œj#œ# J œœ.œ.jœ œJ œ nœj œ nœJ œ nœj œ bœJ œ Œ.j œÔ2 -5 5 5 5 5 5 7 80 0 02 -5 5 5 7 89 9 -7 0 3 0 09 9 -7 0 3 03 W 030

& # j jjjŒ. bœœ œ œ œ j Œ8 6œ œ bœœ œœ œ œ j œ˙ . n˙.˙ . n˙.Ô00 0 013 W 2 03 W00 0 010 3 P20 03 W& # 8 6 Œ j j œ œ #œ 12 8˙.Ô0 1 20œ # œ œ nœ.n . œœ.œ J œ nœ.œ0 0 3 32 1 0 00 t30 00J œ& #jnœœj œn J œ œj œj œ œ nœœ œ j œ bœJ œ J œ J œ œ nœœ œJ œ Œ.jœÔ3 -5 3 -5 3 -5 — 3 0 3 0 0 03 -5 3 -5 3 -5 — 3 0 3 03 W 0& # jŒ b œ œ.Œj jœ nœœ œ 8 6 œ j œ œjbœ 12 8œ.œJ œ œ Œ.˙.Ô0 0 0 3 W13 W 3 W 200 00013 W31

& # 12 j j j j jŒ8 œ bœ œ œ œ œ j Œ8 6œ œ bœœ œœ œ œ j œ˙ . n˙.˙ . n˙.Ô00 0 0 010 3 W 2 03 W00 0 010 3P20 03 W& # 8 6 Ó. 12 8˙.Ô0& #Ôjœ .J œGUITAR BREAKœ œ œ œ œœ œ œ . œ œ.œœ œœ2 -12 12 12 12 12 12 10 00 0 02 -12 12 12 10j œ‰bœbœjœ œœ‰j œ œœ‰j œ œJ œ œ .8 7 8 5 4 5 08 8 5 4 5j œ& #jœ .J œœ œ œ œ œœ œ œ . œ œ.œœ œœj œJ œbœbœjœ œJ œ œj œ œœ‰j œ œ.J œ œJ œÔ2 -12 12 12 12 12 12 10 00 0 02 -12 12 12 108 7 8 5 4 58 7 8 5 4 5032

& #ÔœJ‰ œ œ œ œ œ bœœ œ Œ j jœ ‰ nœœ œ œ.˙ . Œ. ŒJ œ nb ˙.Ó.5 5 5 5 5 8 P55r5r5r5r5r 5532 0 32 -5-5bœj œ3 3 3 33r3r 3r3r3 0& # j jœ. bœ œ œ œ œ jjjœŒœ bœœ œ œœ œ j œ 8 6˙ . n˙.˙ . n˙.Ô00 0 013 W 2 03 W00 0 010 3 P20 03 W& # 8 6 Œ j j œ œ #œ 12 8˙.Ô0 1 20œ # œ œ nœ.n . œœ.œ J œ nœ.œ0 0 3 32 1 0 00 t30 00J œ& #jnœœj œn J œ œj œj œ œ nœœ œ j œ bœJ œ J œ J œ œ nœœ œJ œ Œ.jœÔ3 -5 3 -5 3 -5 — 3 0 3 0 0 03 -5 3 -5 3 -5 — 3 0 3 03 W 033

& # jj jŒ b œ œ.Œœ nœœ œ 8 6 œ j œ jœ bœ 12 8œ.œJ œ œ Œ.˙.Ô0 0 0 3 W13 W 3 W 200 00013 W& # 12 j j j8Œœ bœ œ œ œ œ jj j jœŒœ bœ œ œ œ œ j œ 8 6˙ . n˙.˙ . n˙.Ô00 0 0 010 3 W 2 03 W00 0 0 010 3 W 2 03 W& # 8 6 Œ.œ. 128˙.jœ .J œœ œ œ œ œœ œ œ . œ œ.œœ œ jœ œJ œÔ00000u2 -12 12 12 12 12 12 10 00 0 02 -12 12 12 10 0& #bœbœjœ œ jjœ œ œ œ j œJ œ œœ‰J œ œ .Ô8 7 8 5 4 5 08 7 8 5 4 534

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& #jnœœj œn J œ œj œj œ œ nœœ œ j œ bœJ œ J œ J œ œ nœœ œJ œ Œ.jœÔ3 -5 3 -5 3 -5 — 3 0 3 0 0 03 -5 3 -5 3 -5 — 3 0 3 03 W 0& # jj jŒ b œ œ.Œœ nœœ œ 8 6 œ j œ jœ bœ 12 8œ.œJ œ œ Œ.˙.Ô0 0 0 3 W13 W 3 W 200 00013 W& # 12 8Œ. bœjœ œ˙ . n˙.jœ œj œjŒœ bœœ œ œ˙ . n˙.jœ œj œÔ00 0 013 W 2 03 W00 0 010 3 P20 03 W& #Ô˙.˙#˙g .52220 0g36

SPECIAL RIDER(Skip James lyrics)I ain’t got no special rider hereI ain’t got no special rider…I ain’t got nobody to love and feel my careI woke up this mornin’, looked at the special risin’ sunGot up this mornin’, looked at special risin’ sunAn’ I prayed to the Lord my special rider would goI sing this song to ease your trouble in mindSing this song, ease your trouble in mindAnd you stay worried, yeah, and bothered all the timeHey, hey, what more can I do?Hey, hey, what more can I do?Honey, you must want me keep singin’ these special blues37

HARD TIME KILLIN’ FLOOR BLUESCross-note (Open Em) Tuning: EBEGBD& # # # #68Œ.œnœœ‰œ œ Œ.nœ.œ œ œ‰ œ œ Œ.nœ.œ œ œÔ0 3H0003 0 2H 0003 0 3H0& # # # #œnœjŒ.J œ nœJ œŒœ.jœ œ.œ œ œ‰ œ œ Œ.nœ.œ œ œÔ0 03 2 03000 00 5H003 0 3H 0& # # # #‰ œ œ Œ.œ Á . œ nœœ‰ œ œnœ.Ánœ# œ nœ# œ œ‰Ô005 W 0 3H03 W00001H P0 1H0& # # # #œœjœ œ jJ œ J œ J œ œ œ œœ. œ.œ.œ n J œÔ0 02 -4 2 -4 — 20001t00 338

& # # # #œœjœ œ jJ œ J œ J œ œ œ œœnœ.jœnœ# œ nœ# œ‰œÔ00 0 01t 2 -4 2 -4 — 2000001H P0 1H03& # # # #œœjœ œ jJ œ J œ J œ œ œ œœ. œ.œ.œ n J œÔ0 02 -4 2 -4 — 20001t00 3& # # # #œœjœ œ jJ œ J œ J œ œ œ œœnœ.jœnœ# œ nœ# œ œ‰Ô00 0 01t 2 -4 2 -4 — 2000001H P0 1H03& # # # # œ œ œ nœ.œ œ œ nœœ.œ..œ.œ.œ.œ.œ.Ô0 2000 03 3003.00039

HARD TIME KILLIN’ FLOOR BLUES(Skip James lyrics)Hard time here and everywhere you goTimes is harder than ever been beforeAnd the people are driftin' from door to doorCan't find no heaven, I don't care where they goHear me tell you people, just before I goThese hard times will kill you just dry long soWell, you hear me singin' my lonesome songThese hard times can last us so very longIf I ever get off this killin' floorI'll never get down this low no moreNo-no, no-no, I'll never get down this low no moreAnd you say you had money, you better be sure'Cause these hard times will drive you from door to doorSing this song and I ain't gonna sing no moreSing this song and I ain't gonna sing no moreThese hard times will drive you from door to door40

I’M SO GLADCross-note (Open Em) Tuning: EBEGBD& # # # #4J œ œŒ. jnœœj œ œ jœ œœœœnœ# œœjœ œ.œœÔ4 232 -4200 00 2H0 1H0 0& # # # #Œœœœœ0jœ œ jœ œœ0 0œ˙œ œ œ nœ‰ œ.œœÔ& # # # #7 70 07 70 0J œ œjŒ.nœœj œ œ.œœ5 5 0005u 000Ó ‰ œ j# œ œ œœ œÔ4 032 -440223 2}0 0000 0& # # # #œœnœ# œœjœ œ j œœœœ˙œŒ˙œÔ0 00 2H 20 1H0 00 00 0 00 01 10u0 00u41

& # # # #Œ. j œœœj œ œ jœ œœœ œ œ œ j œœ œ.œœœÔ004 2200 00 2H10 000 0& # # # #Œœœnœœjœœœœ.œœn˙œ œ ‰ œ.œœÔ7 907 95t5 5 00500 00& # # # #J œ œjŒ.nœœj œ œ.œœÓ ‰ œ j# œœ œœ œÔ4 032 -440223 2}0 0000 0& # # # #œœnœ# œœjœ œ j œœœwœœœœÔ0 00 2H 20 1H0 00 000 01 10 00 042

& # # # #Œ œœnœœ œ œ œœ œjœ œœj nœœj œ œ.œœÔ0 4H0 3H 34 40 4H43400 00 0& # # # #Œ # œœœ œ œ nœœ œœjœœnœ#œj œj œ œ.œœÔ0 3H0 2H 23 30 00 3H 023 30 0& # # # #Œ œœnœœ œ œ œœ œjœœœœjœjœ . nœœœÔ0 2H0 1H 12 20 00 2H 012 20 0& # # # #Ó ‰ jnœ# œ œ aœœ œœwœœœœÔ00 1H0 2H 000010 00 00 043

& # # # #j jnœ. œ œ œnœœ œ œjœjnœj jœ nœ œnœœ œ nœ œjœÔ03 3 30 03 33 P030 00 03 3& # # # #j jœ. œ œ œœ œ œ œjœjnœœ j j œ œ nœœ œ œ œjœÔ02 2 20 02 23 P020 00 02 2& # # # #j jnœ. œ œ œnœœ œ œjœnœ.j j œ œ nœ.nœœ œ œÔ01 1 10 01 13 00 01 11& # # # #Ónœ# œ‰ œœ œœjaœœ˙œŒ˙œÔ00 1H0 00 200 0 00 01 10u0 00u44

& # # # #J œ œŒ. jnœœj œ œ jœ œœœœnœ# œœjœ œ.œœÔ4 232 -4200 00 2H0 1H0 000 0& # # # #Œœœœœjœ œ jœ œœœ˙œ œ œ nœ‰ œ.œœÔ7 70 07 70 05 5 0005u 000& # # # #J œ œjŒ.nœœj œ œ.œœÓ ‰ œ j# œœ œœ œÔ4 032 -440223 2}0 0000 0& # # # #œœnœ# œœjœ œ j œœœwœœœœÔ0 00 2H 20 1H0 00 000 01 10 00 045

& # # # #Œ. j œœ œj œ œ jœ œœœœnœ# œœjœ œ.œœÔ4 202 200 00 2H0 1H0 000 0& # # # #Œœœnœœjœœœœ.œœn˙œ œ ‰ œ.œœÔ7 907 95t5 5 00500 00& # # # #œÓ ‰nœ œœœœjœ˙œnœ‰œœœjœÔ& # # # #12 120012 120 00jœœœœjœjœœœ.0œ11 110011 110 0˙œœnœÓœœ0Ô12 110 012 110 01200 012 0046

& # # # #Œ œœnœœ œ œ œœ œjœ œ jœ œœj œ . nœœœÔ0 4H0 3H 34 40 00 4H 034 40 0& # # # #Œ # œœœ œ œ nœœ œœjœœnœ#œj œj œ œ.œœÔ0 3H0 2H 23 30 00 3H 023 30 0& # # # #Œ œœnœœ œ œ œœ œjœœœœjœjœ . nœœœÔ0 2H0 1H 12 20 00 2H 012 20 0& # # # #Ónœ# œ‰ œœ œœjaœwœœœœÔ00 1H0 2000 01 10 00 00 047

& # # # #J œœœnœœœjœ œ.œjœœœœjnœjœ œ.œœÔ00 3H 32 -444 P043400 00 0& # # # #Œ # œœœ œ œ nœœ œœœœnœœ#œ œjœ œ.œœÔ0 3H0 2H 23 30 3H P032300 00 0& # # # #Œ œœnœœ œ œ œœ œjœœœœjœjœ nœ.œœÔ0 2H0 1H 12 20 00 2H 010 00 0& # # # #Ónœ# œ‰ œœ œœjaœwœœœœÔ0 20 1H0 00 00010 00 048

& # # # #Œ. j œœ œj œ œ jœ œœœœnœ# œœjœ œ.œœÔ4 202 200 00 2H0 1H0 000 0& # # # #Œœœnœœjœœœœ.œœn˙œ œ ‰ œ.œœÔ7 907 95t5 5 00500 00& # # # #J œ œjŒ.nœœj œ œ.œœÓ ‰ œ j# œœ œœ œÔ4 032 -440223 2}0 0000 0& # # # #œœnœ# œœjœ œ j œœœœ˙œŒ˙œÔ0 00 2H 20 1H0 00 00 0 00 01 10u0 00u49

& # # # #J œ œŒ. jnœœj œ œ jœ œœœœnœ# œœjœ œ.œœÔ4 232 -4200 00 2H0 1H0 000 0& # # # #Œœœnœœjœœœœœj œœn˙œ œ ‰ œ.œœÔ7 90 07 95t5 5 00500 00& # # # #œÓ ‰nœ œœœœjœ˙œnœ‰œœœjœÔ& # # # #12 120012 120 00jœœœ.œjœœœœ0jœ11 110011 110 0˙˙˙˙˙˙n0Ô12 110 0 012 110 012 12001200o050

I’M SO GLAD(Skip James lyrics)And I’m so glad, and I am glad, I am glad, I’m gladI don’t know what to do, don’t know what to do, I don’t know what to doI’m tired of weepin’, tired of moanin’, tired of groanin’ for youAnd I’m so glad, I am glad, I am glad, I’m gladI’m tired of weepin’, tired of moanin’, tired of groanin’ for youAnd I’m so glad, and I am glad, I am glad, I’m gladI’m so tired of moanin’, tired of groanin’, tired of longin’ for youI’m so glad, and I am glad, I am glad, I’m gladI don’t know what to do, know what to do, I don’t know what to doI’m so tired, and I am tired, I am tired…And I’m so glad, I am glad, I am glad, I’m gladI don’t know what to do, know what to do, I don’t know what to doI’m tired of weepin’, tired of moanin’, tired of groanin’ for youAnd I’m so glad, and I am glad, I am glad, I’m gladI’m so tired, and I am tired, I am tired, I’m tiredI’m tired of weepin’, tired of moanin’, tired of groanin’ for youI’m so glad, and I am glad, I am glad, I’m gladI don’t know what to do, know what to do, don’t know what to do51