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  • mel bay presents

    0tllLIFRAING THEUnleashing the Clawhammer in

    Guitor Fingerpicking

    B Y S r r v r B n U G H M A N

    TAR

    tilaEEEEBtElE@EEIIEtG[gtG[uttr@

    Shad!, Orcve . . . . . . . . . . . . . . . . . . . . . ( :51 |

    Oo Tell Aunt Rtro

  • ContentsFRAILINC ON CUITAR . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .5Full Disclosure Regarding Terminologr.... ................4Layrng the Foundation ..............5A Word about Open Tunings .....6Appl lnng the Lubus Pick . . . . . . . . . . . . . . . . . . . . . . . . . .7Shady ( l rove . . . . . . . . . . . . .7The Basic Frailing Pattern .........8Go Tel l Aunt Rhodie . . . . . . . . . . . . . . . . .8Shady Qrove (Orkney) ..............9Shady Grove (Standard Tuning) ............. lOA Word About Repetition ........ lOBells and Whistles........... ....... I IDouble Pluck Variation on the Basic Frail ....... ....... I IL,ef t Hand Fi l ler S|ap.. . . . . . . . . . . . . . l2Honing Your Technique .......... l5Cripple Creek.. . . . . . . . . l4Advanced Shady Grove (with filler slap) ................ 15Two Advanced Exercises........ ............... l5The tl igh [.onesome Riff ......... ............... 15Angeline Baker Riff......... ........ 16Old Joe Clark .......... 16Old Joe Clark Melody Variation ..............l7Middle Finger Thwack... .......... l7More Tunes ............. l9Hey Mcleod, Get Off of My Ewe .............2OGlory by the River ...22Angel ine Baker. . . . . . . . . . . . . . . . . . . . . . .25fl ickory Jack ...........24Flaiting the Blues ....27Flailing as Vocal Accompaniment ..........29Some Other Guy's Frailing... ...29Our Daily Dread ......5OTen Minutes to Frailing Fluency .............5OBasic nrail (2 minutes) ............5OBasic FYail with L.eft fland Filler Slap (5 minutes) ...5Otligh Lonesome Kiff (2 minutes) .............51Angeline Baker Riff (5 minutes) .............51About the Author ............ .......52

  • FKAILING ON GTJITRR

    The Travis pick revolutionized guitar music in the last century. Frailing stands poised to dothe same in this one. With a subtle paradigm shift and a slight adjustment of the right thumb,fingerpicking is propelled into a new dimension. That mysterious clawhammer lilt, once theexclusive province of the old time banjo, now finds instant voice in its six-string cousin.

    A bold claim indeed. But I suspect that by the time you've worked your way through page 9of this book, you'll join me in singing praises to this simple but obscure technique.

    And how obscure it is. I know a grand total of 5 professional guitar players on our planetwho utilize techniques that approximate the frailing patterns described in this book. Even if I'vemissed a few, ifs still a very small number. So you're embarking on a journey far from thebeaten path.

    Although frailing is quite a simple technique, this book assumes a solid ability on the student'spart to do basic fingerpicking. If you can at least Travis picK welcome aboard.

    Please take these lessons in order. There is a reason why they fall where they do, and if youjump ahead before you've mastered the basic patterns, you're likely to encounter gloom, de-spair and agony. Remember the words of the wise Yoga master who reminded an overly ambi-tious student that she should not worry about standing on her head until she has learned tostand on her feet. The frailing pattern incorporates several ingredients that may not be a part ofyour regular right hand repertoire, such as the downward middle finger brush, the doubleLubus pluck and the delayed thumb. Until you have these down, the frail won't flow. And untilthe frail flows, the tunes won't.

    Thanks to Joe Lubus and Jody Stecher, each of whom taught me a separate component partof the picking pattern I call frailing. Putting them both together has given me the biggest musi-cat jolt since I first learned to pick trreight Train a quarter of a century ago. Thanks also toAndrew DuBrock for his patient transcription of each note played on this project.

    Happy trails.

    Steve Baughmanwww.celticguitar.comSan Francisco, California

    1

    r-1o oU

    5

  • Itrlt Disclosure Kegarding TerminologyThe terminologl used in this book includes words and phrases that are not part of the

    average guitarist's lexicon. Terms such as Lubus Pick, Filler Slap and Middle Finger Thwackwere manufactured by yours truly as convenient tools for referring to whatever it is I'm refer-ring to. Although most guitarists are not familiar with these terms, they are useful in communi.cating with those in the know, tike you will soon be.

    The word -frailing- itself deserves comment, as a couple of prominent banjo players haveinsisted that my use of the term is improper. The word has indeed taken on meanings in guitarcircles that are quite different from those intended by banjo pickers. A prominent rock starclaims the frailing title for what is little more than a fingerstyle boom-chuck pattern. One -rootsguitaf video views the mere downward brush of the middle finger as an act of "frailing.- Andanother guitar video advertises itself as containing material on "banjo style frailing" but theclosest it comes is a discussion of the Flamenco tremolo. No wonder banjo players are an-noyed.

    I have attempted to be considerably more rigorous in my use of the term, and I employ itonly because the technique described in this book embodies the main right hand ingredientsthat give banjo frailing its distinctive bounce. These features are, first and foremost, the de-layed thumb, and, second, the downward finger stroke. In the more advanced arrangementswe also see the thumb playrng melody notes on the treble strings, avery unguitarlike thing todo, but a technique commonly known as the "drop thumb" in baqio picking. Accordingly, Isubmit that we're on solid ground referring to our pattern as frailing.

    Besides, our frailing pattern really does sound like a banjo. Skip ahead to OId Joe Clarkandsee for yourself. I trust you won't find it to be a czrse of -close but no Seeger.-

    I also have to confess, I just can't think of better name than -frailing" for a technique withsuch Southern roots and flavor. I suppose we could call it Kentucky trried Pickin', but that mightrender me susceptible to a charge of making a bad pun.

    And what's the big deal with definitions anywafi Is Chop Suey really Chinese? Culinologiststmay bicker, but a great dish is a great dish. So until such time as a more precise nomenclatureemerges, let's get frailing.

    4

    I Another word I made up.

  • Laying the FoundationWhile you're still in standard tuning I want to start with some foundational patterns thatwill

    get your fingers used to motions that are integral to the frailing technique. These patterns arenot only helpful groundworK but they are very useful in and of themselves, especially in pro-viding accompaniment for vocals. (I think the cowboy pick is one of the most useful right handpatterns for country and folk vocal accompaniment. Try it out on Red Kver VaIIey or the coun-try song of your choice.)

    Be advised that on the downward middle finger brush it usually doesn't matter which stringsyou hit, or how many, as long as the sound pleases you. I tend to just let my middle fingerbrush down on the 5d and 2nd strings, but it may touch the 4h and ls along the way. L.et thespirit lead.

    Lubus PickStandardT[ning

    = downstroke with middle finger= upstroke with index finger

    Lubus Double PickStandardTiming

    * l

    I

    5

  • A Ulord about Open Tlrnings

    Before we move on to the arangements, I want to say that if you're inclined to be intimi-dated by open tunings, don't be. They're not hard to get the hang of, and they're quite addict-ing once you start exploring them. Keep one thing in mind. In frailing, a.s in most guitar stSdes,your melody is almost exclusively played on the first three strings. So consideryourself playinga 5-stringed instrument, throwing in a few bass notes here and there for fun and fullness.

    To make matters even simpler, although we use different open tunings throughout thisbook, the 5 treble strings do not change relative to each other. Usually, the 5d string is Q, the2nd is C and the l* is D. In one tuning, it's E, A and B, but those are the same intervals as in (1,C, and D, so the fingering is identical. Thus, throughout this book, whatever open tuning you'rein you'll be in familiar teritory.

    Frailing also works in standard tuning. The version of Shady Qrove on page 1O illustratesthis nicely. But open tunings can better approximate the modal sound of the baqio. (ln fact, thefirst 5 strings of the Orkney tuning, discussed in the next paragraph, are actually a commonbaqio tuning known as the Sawmill thning.) Also, in frailing you are making hearry use ofhammerons and pulloffs. These are much easier with open strings, and open strings are morereadily available in open tunings.

    My favorite tuning, and one that is well suited to frailing, is the Orlmey Tuning (gAIXrcD).Throughout much this bookwe'll either be in Orkney, orin orsome close variation. But keep inmind, our open tunings va4r only in the bass notes. So chill out, relax and enjoy.

    6

  • Applying the Lubus Pick

    Shady Grove

    Here is a version of Shady Qrove that allows you to use the Lubus Pick in playing a melody.This anangement is almost identical to the Shady Qrove on page 9 with one crucial exception.The basis of this one is the Lubus pick (thumb, downward brush, index) while the other oneuses the basic frailing pattern (index, downward brush, thumb.) I would advise that in goodtime you learn both arrangements so that you will be able to experience, appreciate and isolatethe reasons for the vastly different effect you obtain by using the frailing pattern.

    For those of you not familiar with the Orkney tuning this arrangement will help you getacclimated.

    fllADY qn0w (w/I.ubus Pick)TUning :OrkneyCGDGCD

    7

  • The Basic Frailing PatternFasten seat belts. flere comes the pattern. And get readyto unlearn years, perhaps decades

    of thumb-on-the-downbeat.

    When you fingerpick, you probably instinctively have your thumb strike primarily on theone. With frailing your thumb strikes on the 'ando of 'one and two and." So it's index up,middle finger downward brush and thumb.

    Many of my students have great difficulty with this at first. It's like trying to talk backwards.Easy very is it it get you once but. Take it slowly. And, please, do not move on until you'veinternalized this pattern and it just flows from your fingers. Remember my warning in theintroduction about gloom, despair and agony.

    Basic Frailing PatternTirning: Orkney

    Go TelI Aunt Khodie

    This is avery simple three-stringed arrangement that will get you started on playing a melodywhile keeping the right hand frail going. This may seem to be a mundane exercise but it's avaluable one. My advice is to not move to Shady Qrove until you're able to play this comfortably.

    qo r6n AqrT $to9rcTuning: Orlcney

    8

  • Shady Grove (Orfarey)

    flere's our first illustration of the basic frailing pattern in the context of a full arrangement.Note one astonishing fact; your right hand pattern does not change throughout this entirepiece. Not one iota! You'll pick different strings each measure, but the basic pattern remainsabsolutely constant from beginning to end, index, brush, thumb / index, brush, thumb.

    Repetition is a critical part of frailing. Your right hand must be lulled into a trance-liKe statein which it knows not, and cares not, what the left hand is doing. If just rolls along, dutifullyrepeating its assigned pattern over and over and over.

    Have fun. Make this piece your mantra for a few weeks.

    fllADY qROYF (basic)Tirning: Orkney

    ---_-\

    9

  • tlere is the standard tuning Shady Grovetuning venture in this book. Henceforth you,ll

    Shady Grove (Standard Tuning)I promised you. This willbe in an open tuning.

    be our last standard

    f$A9' (ROvStandard Tuning

    A Word About Kepetition

    ln Shady Qroveand Aunt Rhodie we had the luxury of never having to depart from the basicfrailing pattern. That won't happen in many tunes. You will notice throughout the next arrange-ments that the right hand must make occasional adustments in order to let the melody out.That can be frustrating but if you have internalized the basic pattern, you will be able to pickup where you left off with litHe difficulty.

    We first encounter this departure from the basic groove in the first half of the fourth mea-sure of Cripple Creek, where the basic pattern stops and the thumb plays a melody note thatwould have ordinarily been assigned to a downward brush. But the intemrption is brief and thebasic frail resumes at the second hatf of the measure and continues to the end of the piece.

    Other tunes will require more extensive departures from the basic frailing pattern. ln AngelineBakerand llickoryJackyou'll find many heresies, including thumbs on the downbeat, the verything we're tryrng to purge from our beings. But the frailing pattern is not dogma. Use it tocreate your groove, but always feel free to depart from it when it doesn't fit.-If playing themelody requires a detour around the frail, detour without guitt. You'll come home when thetime is right.

    l o

  • Bells and ltllristles

    Double Pluck Variation on the Basic Flail

    This is a simple and important variation on the basic frail that adds a nice high pitch textureto the frailing sound, a bit like the 5tr string of a banjo. Kather than pluck a single string at thestart of your frail, pluck two. Normally you would start with your index finger on, say, the 5dstring. Now do the same thing but in addition throw in your ring finger on the l$ string. Every-thing else remains the sarne.

    I use this double pick almost exclusively on l$ string, and usually on the open l$ string.You'll hear that often on Shady (irove. But sometimes I'll fret the lst string at the 5e fret withmy left pinky and throw in a bunch of those high A sounds that mimic the baqio. This occursfrequently in Mashed Potatoes and in Angeline Baker and other c tunes.

    The double pick variation is something that you may use at your discretion whenever youwant to. I won't bother notating it when I use it on the recordings because there is no right orwrong place to put i$ But it is mighty useful and you should try to incorporate it into your playing.

    Double Pick Frail VariationTuning: Ortrcy

    l l

  • Lft lland Flller Slap

    Sometimes you can't fit a melody note into your pattern without destroying your right handgroove. The filler slap often enables you to create that note with your left hand., thereby en-abling your right hand to continue on its oblivious way. The filler slap can also be used just tocreate an intensified groove.

    A filler slap, sometimes known as a'tap,' is simply a placement of a left hand finger on thefret with sufficient force that it creates a note without the need for your right hand to pluck thatstring. It is like a hammer on, but with one key difference. In a hammer on, you pluck a stringand thereafter fret that sanne string while it is stilt ringing. On a filler slap, you pluck a string andthen forcefully fret a different string.

    Here's a filler slap stuck into the basic frailing pattern. I find this riff to be intensely cool.

    kft-Hand Filler SlapT[ning: Orkney

    Now here's a filler slap used to create a melody note that you'll want in Shady Grove. Inmeasure 6 of the basic Shady Qrove arrangement you created the subject note with a pulloff.That can be a bit unwieldy, and at times downright difficult. Here's how it is with the filler slap.

    Filler Slap in t$rDy qR0vt (measure 6)Tlming: Odoey

    t 2

  • Honing Your TechniqueHere are some useful riffs and exercises that you should immerse yourself in before you go

    on to tackle the tunes that are just around the corner. These patterns will help you fine tuneyour technique and make it a lot easier to play the tunes in this book and to come up with yourown arrangements.

    Single-String Frailing Exercise (first string)Tuning: Orkney

    Single-String Frailing Exercise (third string)Tirning: Orkney

    Single-String Exercise with l-eft HandTuning: Orkney

    tiAfrls9 goT^Toslr lning:999G99

    l 5

  • Crippte Creek

    This is the first banjo tune I, and many other banjo players, ever learned. It works beauti-fully as a frailing tune in Orkney. Note the use of your thumb on the second string. That's a bittricky and you'll probably stumble over it at first. But banjo players do it all the time, so it canbe done. On the other hand, if the thumb on second string thing gets burdensome, skip it andplay an open sixth string instead. That works just fine in this piece.

    Also, as noted above in the repetition section, you depart briefly from the basic frail in thefirst half of the fourth measure. That measure helps getyou started on jumping off the frail andthen getting back in to it. Unless and until you've gotten really comfortable with the basic frail,you will probably have great difficulty getting back on track after you depart from the pattern.

    Note also how that simple left hand filler slap in the first measure enables you to get themelody note in without intemrpting your frail.

    Tuning: Orkney

    t 4

  • Advanced Shady Grove (with fiIler slap)

    ffere's the super-evolved version of Shady Qrove.

    Advanced filA9y GROvf (with filler slap)Tuning: Orkney

    Ttrro Advanced Exercises

    The nigh Lonesome Bitr

    This is a nice riff that will help you get the frailing feel in your blood. Note the extensive useof the thumb on the second string. This riff also is good training to help you get ready for ournext tune.

    & ffi:roNrforir G Ritr

    &,orayed srowly) &(PhYed fast)

    l 5

  • llngeline Baker Riff

    This is a tough one that requires disciplined adherence to the basic frail. If you only havefive minutes to practice on a given day, do this riff for all five. I like this exercise because itreally helps you bring out a melody on the treble strings using your thumb and a downwardmiddle finger brush.

    orD ror c[ARrTuning: Orkney

    & l}::l}x,oAtc* Ritr &r (pravedsrowrv)

    Old Joe Clark

    &(PlaYed slowlY)

    l 6

  • Old Joe Clark ltlelody Variation

    This is a variation on the first measure of Old Joe Clark.ln this variation you are playingthe second melody note with a hammer on. In the previous version, you were playing thesecond melody note with a downward middle finger brush. This example illustrates adifferent way to get the melody out in the context of a frail pattern.

    OtD tOt Cl,ARf melody variationTlning: Orkney

    Ittiddle Finger Thwack

    The MFT is a valuable technique I learned from English guitarist, Martin Simpson. Techni-cally it is not a part of the basic frailing pattern and you will note that it does not appear at allin our basic Shady Qrove version. flowever, it is useful in accentuating melody notes and inadding texture. So it's well worth learning if you plan to be a frailer. You will hear it demon-strated quite often in the recordings of Angeline Baker and in thre Blues Improv.

    Thwackery varies from gentle to ultra aggressive. The MFT is simply an aqressive downwardbrush that strikes only one string. It is executed by burying the nail of your middle finger in theflesh at the base of your thumb and then flicking it downward as if trying to rid your finger of apiece of mucus. Many of the downward brushes I use throughout the tunes in this book are infact gentle MFTs. Don't worry about the terminologr. If I notate an MFT and you hear, or prefer,a downward brush, play whatever feels best to you.

    Students tend to have a difficult time learning to hit the target string. I find it helpful to havemy middle finger nail strike parallelto the string rather than at an angle. This gives you betteraccess and a clearer shot at your target string. Also, the middle finger does not follow all theway through as it would if you were flipping the bird. Instead, it shoots out about half way andthen immediately retracts.

    Mastering the MFT is indeed a slow process. My suggestion is that you treat the MFT as a sideissue. Unless you have plenty of time, don't make it a big project. And certainly don't let it taketime away from mastering the basic frail pattern. Remember, the MFT is rarely an essential partof a tune. It can usually be replaced with a downward middle finger brush.

    L 7

  • nere is an exercise that requires you to use the MFT on all three treble strings. It is a singlemeasure from my version of the bagpipe march, Cullen Bay. I have found this to be a verydifficult passage to play, but a very useful MFT exercise. If you spend five minutes a day on thismeasure, the MFT will start falting into place rather quickly.

    & Middle-FingerThwack

    * Middle-finger thwack.

    1 8

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  • ]fEy l{C|'rOD, qFT Ott OF l,ly EWFT[ning: CFCGCD

    * Light Brush, or Frail

    Music by Steve Baughman

    t Middle FingerThwack

    + Percussive Palrn Slap

    O Tall Tree Music. Atl Rights Reserved. Used by permi*sion20

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  • & 6toRy 6y TlfE RIVFR&r (plaved srowry) r,"n",]lijf"3il

    runing:999c99

  • &&

    ANqstlNE BArER Traditionalarranged by

    Steve Baughman(played slowly)

    Capo ItrTuning:9gqcc^P

    25

  • ]tlcKony rAcKTuning: EABEABCapo 3rdfret

    trTraditional

    arranged bySteve Baughman

    t MiddleFiogerThwrk

    24

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    25

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    -7) . I ae vTI

    V I

    , t -t . , vt-

    26

  • Flaiting the Bluesflere is a pattern in which you replace the downward middle finger brush with a genfle palm

    slap. That's a nice variation that you can use an;rtime, anywhere, blues or not. If you slow itdown, it really grooves and takes on a bluesey flavor. Here's the pattern.

    Palm Slap Frail PatternTuning: Orkney

    t;,i*J

    ' ' , l! , i

    l i * i= : . :=

    IH

    27

  • This is a bit of funky stuff that I improvised into the microphone. This piece illustrates howthe modified frail can be used to play blues. It also highlights the Orkney tuning's compatibilitywith this genre. Take this in your own direction and go wild with it.

    2A

  • Fraiting as Vocal Accompaniment

    & Track 57 of your CD contains a song calted fland Me Down My Walking C.ane. I@O provide this just to give you a sample of what frailing can do with vocal accompani-

    ment. llote the drive that the delayed thumb generates. I have not provided tab fortheaccomPuniment as it is only a matter of playing the basic frail and then chording withthe left hand. I have thrown in a few filler riffs between vocal lines. There are plenty ofthose out there and once you try this out you'll find your own. Eqioy.

    Some Other Gu5/s Fraifing

    &"_ Track 58 of your CD contains a cut of one of the finest guitar frailing arrangements(EPO ever recorded. The picker is an unknown chap by the name of Alec Stone Sweet andthis is from his Indie-nominated debut album Plemory and Praiseavarlable on AppleseedRecords. Alec's album contains another frailing number and a bunch of other wonder-ful solo guitar pieces. It is welt worth picking up, Kind thanks to Alec and Appleseed forletting me share this tune with you.

    29

  • Our Daily Dread

    Ten Ftinutes to nfailing Fluency

    In your years as a guitarist, you've probably developed a debilitating case of downbeatitis inyour right thumb. Here's the antidote. This is the minimum routine that I believe will be re-quired for you to master the technique. Obviousty, if you can do more, you'll progress faster.Foryour first two months as a frailer; devote yourself religiously to this routine. Feel free to takeweekends off, but no more. After two months you can begin backsliding.

    Keep your guitar in Orkney tuning for these exercises. You can tune the 4th string down toC for the Angeline Baker riff if you wish, but it is not necessary for purposes of this exercise.

    For your convenience, I've duplicated the tablature for this daily routine on two p4es. Thatway if you go mountaineering or on a business trip you need not bring the entire book with you.Just tear these two pages out and stick them in your wallet, purse, backpack or briefcase.

    Basic Ffail (2 minutes)Intermingle the double frail with open lst string at random after the basic frail becomes

    comfortable.

    Basic Frailing PattemTuning: Orkrcy

    Basic F?ail with Left tland FiIIer Stap (3 minutes)L.eft-Hand Filler SlapTuning: Orkney

    50

  • Iligh Lonesome Biff (2 minutes)

    & f::ro*rpnrc Riff

    &r,ntavedsrowrv) &,otaYed fast)

    Angeline Baker Bitr (3 minutes)

    & *::T,|],EAtcRRitr &r (pravedsrowrv)

    When Aou'ue done Aour ten mtnutes,moDe on to Aour tune of choice and devour iL

    Qood luck, ptlgrim.

    Onward!

    5 l

  • About the Author

    Steve Baughman

    Steve Baughman is a pioneering fingerstyle guitarist known for his emotive affangements ofCeltic fiddle and harp tunes. Steve's playrng is charactenzed by a strong melodic presence andseveral right-hand techniques that enable guitarists to play the old Celtic melodies with easeand emotion. Unlike most guitarists who play in open tunings, Steve rarely uses DADGAD butinstead employs a wide variety of rather unusual open and alternate tunings with Orkney tun-ing (CQOCCD) figuring principally among them.

    Mel Bay Publications has published three books and one video of Steve's arrangements,including Steve Baughman's Celtic Quitar Method (MB967OOBCD) which introduced many pick-ers to his unique techniques and tunings. His Open Tunings Christmas for Quitar (M899251BCD)is the first book of Christmas tunes arranged entirely in a variety of alternate tunings.

    32

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    Front CoverCD Contents Book ContentsFrailing On GuitarFull Disclosure Regarding TerminologyLayng the FoundationA Word about Open TuningsApplying the Lubus PickThe Basic Frailing PatternGo Tell Aunt RhodieShady Grove (Orkney) Shady Grove (Standard Tuning)Bells and WhistlesLeft HandFiller Slap Honing You TechniqueCripple CreekAdvanced Shady GroveTwo Advanced ExercisesAngeline Baker RiffOld Joe ClarkOld Joe Clark Melody VariationMiddle Finger ThwackMore TunesHey McLeod, Get Off Of My EweGlory By The RiverAngeline BakerHickory JackFrailling the BluesFrailing as Vocal AccompaniementSome Other Guy's FrailingOur Daily DreadHigh Lonesome Riff Angeline Baker RiffAbout the AuthorBack Cover.pdf