Mel Bay Presents

l-n Silent Night

|l8 ] Simple Gifts

|l9l Blues in open G

@ C Blues Riff

lZTl Open G Textural Riff

l27l Orkney Tuning (CGDCCD)

lZTl orkney Bass Runs in G

ITT1 Worried Man Blues in Orkney G

lZ5l orkney Bass Runs in C

D6-l Worriea Man Blues in Orkney C

W1 AmazingGrace in Orkney G

IZE Amazing Grace in Orkney C

lZg I liute Beggar Man

l5-l Uttte Beggar Man (slow)

lTil tobin's Jig in G

l37l Tobin's Jig in G (slow)

Beglnnlng_0 pefTunlngs

bU Steve Bo ughmsn

D contenft I tntro

[-7-] open C Tuning

l-3 I Bass Runs in C

l-4 I worried Man Blues

l-3-l Amazing Grace

l-6 I Simple Gifts

[71 Rambutan Lady

l-S I Merrity Kissed the Quaker[-9-l ue*ty Kissed the Quaker (slow)

l-lol Blues in open C

l-t t l RCtrorOBluesRiff

FZ Open C Textural Riff

ll5] open G Tuning

[4 | Bass Runs in G

l-l5l worried Man Blues

llo I otr Susanna

r 2 3 4 5 6 1 8 9 0@ 2OO4 BY MEL BAY PUBLICATIONS, INC., PACIFIC, MO 63069.

ALL RIGHTS RESERVED. INTERNATIONAL COPYRIGHT SECURED. B.M.I. 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 formor by any means, electronic, mechanical, photocopy, recording, or otherwise, without written permission of the publisher.

Visit us on theWeb at www.melbay.com - E-mail us at email@melbay.com

[3Tl Tobin's Jig in C

lJTl orkney Blues

l35l Orkney Blues Riff

136-l Orkney Textural G Riff

I37 OrkneyTextural C Riff

lg8 | oA.DGao

l:q I oeDcen Bass Runs

fT0-l wooi"a Man Blues in DADGAD

lZTl Amazing Grace

EZ Banish Misfortune

E-il Banish Misfortune (slow)

lZ] Tobin's Jis

175l Tobin" Jie (slow)

E6l oe.oceD stues

IZZ nqocnn Textural Riff#l

l?s I oeoceo rextural Riff #2

CONTENTS

INTRODUCTIONThere once was a man from Nantucket,With fingers clumsy as a bucketBut after reading this book,He cried "Hey, Ma, Look!!!! ! !My guitar now sounds great when I pluck it!"

Anonymous.

If you are a beginning or intermediate guitar player you've probably spent almost all of your playing hours inEADGBE, also know as "missionary tuning." The fact that you're reading this book tells me that you want toexplore different textures and means of expression in your playing.

You've come to the right place. Tunings are like languages, each provides a unique means of expression. Eachalso has its own limitations. By learning to operate in the open tunings realm you increase your musicalvocabulary. You may also find that open tunings are just plain simpler than EADGBE. I, for my part, rarelyventure back to standard tuning in my own playing. I find open tunings so much easier.

Of course, learning open tunings can be frustrating at first. You will find yourself in an unfamiliar universewhere all the things you have leamed to do with your left hand are suddenly no longer applicable. You willnot know where to put your fingers or which strings to pluck. But ultimately it's no different from moving to anew neighborhood. Learn your way around and you'll start to feel at home. It is well worth the effort. Therewards will be infinitely greater than the investment you make.

So let's get started!

Steve BaughmanSan Francisco, Califomiawww.frailing.com

Special thanks to Andrew DuBrockfor transcribing this material andfor editorial assistance.

HOW TO USE THIS BOOK(Please Read This Section. It took a long time to write.)

Audio Introduction &ot

Treat this book as a compass guiding you in a general direction, not as a roadmap leading you to a final desti-nation. In these pages I provide you that little bit of water needed to prime your pump. Irrigating the vastmusical plains then becomes your job.

Beginners may find some of these a:rangements to be beyond their abilities. If so, despair not. Just leam thechords provided and the bass runs that follow, then put them to use accompanying the song I sing in each tun-ing. When you have this down you'll be equipped to move on to the first arrangement.

We cover four tunings in this book, Open C, Open G, Orkney Tuning and DADGAD, in that order. It probablydoesn't matter which tuning you start with, but if you have no open tuning experience at all I'd suggest you gowith the order presented. The first two tunings provide a nice introductory turf and the last two are a little bitless intuitive.

We begin each section with a chart containing the basic 1,4,5 chords utilized in that particular tuning. (If you

don't know what 1,4,5 means, you will in a minute.) The chords will give you a sense about the tuning's fla-vor and texture. Play around with the chords for a half hour or so before you move on to the next part of thelesson.

We then proceed to bass runs, which help you get started on accompanying simple songs. This is far from anexhaustive list of bass runs. It is intended only to get you oriented in a particular tuning. Learning these runswill give you a sense of how the tuning works in the lower strings. Once you learn that, you'll be able to cre-ate your own bass runs.

I then give you the pleasure of hearing me sing on the CD. For each tuning I sing one verse of Worried ManBlues and I then pick the melody twice more. The singing is intended not for your listening enjoyment but togive you a chance to practice simple vocal accompaniment in the tuning. Incidentally, this song has a typical1,4, 5 chord structure. This means that if you're playing in the key of C, the chords are C, F and G; if you're

in D, it's D, G and A; if you're in G, it's G, C and D. Note that the distance from C to F is 4 (C, D, E, F), andfrom C to G is 5 (C, D, E, F, G). That's your 1, 4,S.LearningWorried Man Blues will give you the tools toget you through hundreds of folk songs, and through most country and blues songs.

We then move on to learning tunes. The first tune in each section is the simplest. And the first time through itis simpler than the second time through. The tunes immediately preceding the Blues Noodle are rhe most diffi-cult. Beginners should spend lots of time on the first tune while the more advanced players may want to pro-ceed more quickly to the other tunes in the section. The last tune in each section is a little fingerstyle bluespiece that I made up for this book. Each blues :urangement highlights the basic blues sounds available in thetuning. If you don't like the blues, feel free to skip this part.

We end each section with a "textural rifF'or two. These are short snippets that give you a glimpse of the tun-ing's personality. Through these riffs alone you'll see that the tunings vary greatly in their personalities. Open Cand G for instance lend themselves beautifully to heavy use of the "scale of thirds" type harmonies. You'll behard pressed to avoid harmonizing with yourself when in those tunings. If you're the curious kind, you shouldfeel free to jump ahead to these riffs before you tackle the tune arrangements. No need to wait on these.

Flatpick or Fingerpick?

The arrangements in this book are tabbed out for fingerstyle guitar. However, if you are a flatpicker, just pickout the melody notes and ignore what the thumb is doing at the bottom part of the staff.

On the vocal accompaniment part of Worried Man Blues I'm doing a fingerstyle "boom chuck-ah," namely athumb on the bass followed by a down stroke with the middle finger on the first three or four strings followedby an up stroke on the same strings with the index finger. That pattern works just fine with a flatpick also.

Open vs. Alternate Tlrnings

Open and alternate (or "altered") tunings are technically different beasts. An open tuning is one in which allsix strings are tuned to play a full major chord. In Open G and Open C, for instance, you've got a G chord anda C chord respectively without needing to fret any strings. Alternate tunings in their unfretted state, by con-trast, are not full major chords. DADGAD played open is a D chord with a suspended G, and Orkney playedopenisbothaCchordwi thasuspendedDandaGchordwi thasuspendedC,dependingonyourmood.Formy part, I ignore the distinction between "open" and "altemate" and just refer to them all as open tunings.Don't worry about it. And definitely don't bother re-reading this paragraph.

How to Read Thblature

Reading tab is like reading the alphabet. All you need to do is take a little bit of time to learn it, perhaps fiveminutes in the case of tab. Here's how it works. There are six lines in a tablature staff. Each line correspondsto a string on your guitar. The first string (the highest pitched, skinniest one) is represented by the highest lineon the tab staff. The sixth string (the low pitched, fat one) is represented by the lowest line on the tab staff.The little numbers on the staff lines represent frets. So if you see a 3 on the second line of the tab staff, itmeans to place a left hand finger at the third fret of the second string. A little 0 on the first string means youplay the first string open, and so on.

This means third string third fret:

That's it! Welcome to the world of the tab literate.

You will also need to know how long to hold each note. For that information, refer to the Counting Time sec-tion on the next page.

4

Introduction to Reading Music

As in tab, each note on the staff corresponds to a note on the guitar. But while tab tells you which string andfret to play, music notation just tells you the name of the note and you have to find it yourself on the fretboard.Because there are several ways to play, say, a"C" note on the guitar, music notation can be confusing to guitarplayers. Tab is easier because it leaves no room for guessing; it tells you which fret of which string you play toget the "C" note that is to be used in that particular measure.

Here is a chart of how each note is represented in notation.

Counting Time

Once you know what note to play, how much time do you give to each note? In other words, how long do youhold a note before you move on to the next one?

We start by looking at the time signature, which is the little fraction you see at the beginning of a piece ofmusic. Time signatures tell you how many beats fit into each measure and what kind of notes receive one ofthese beats. The number on top is the number of beats per measure, and the bottom number identifies the typeof note that gets one of those beats.

The most common time signature is 414. This means that there are four beats per measure (the number on thetop) and that a quarter note gets one beat (the number on the bottom.). In 314 time (Amazing Grace), there arethree beats per measure, the equivalent of three quarter notes. If the time signature is 6/8 (Tobin's Jig, MerrilyKissed the Quaker), that means six beats per measure and an eighth note gets one beat.

These three time signatures, 414,314 and 6/8 are very common. They are all we use in this book.

The five most common types of note values are whole note, half note, quarter note, eighth note and sixteenthnote. In 414 time, a whole note takes up a whole measure. Two half notes fill a measure, as do four quarternotes, eight eighth notes, and so on. Likewise, a half note and two quarter notes fill up a measure of 4l4.It's amatter of simple fractions.

If you see a dot to the right of a note head, that means you give that note time-and-a-half. Dotted notes rarelyoccur in this book, so don't worry if your vision is getting blurry. An example is the first note of the first fullmeasure \n Amazing Grace. The aMAzing note is a dotted quarter, so it gets held one-and-a-half times thelength of a normal undotted quarter note.

Here is what each note looks like.

Eighth Sixteenth

Here's how we'd notate "bum ditty, bum ditty."

a)bum dit - ty bum dit - ty

The time signature is 414, so we have four beats per measure and a quarter note gets one beat. In bum-ditty westart with one quarter note (bum) followed by two eighth notes (ditty). Repeating the figure yields a measurethat equals four quarter notes (4/4).

Now, if we just put in straight eighth notes it would become "bummah ditty, bummah ditty."

A

-a)

bum-mah dit - ty bum-mah dit - ty

The first two measures of the Open C version of Simple Gifts provide a practical illustration of the notes inrhvthmic context.

The first two eighth notes are called pick-up notes and do not constitute a complete measure. How do youknow this is not a full measure? Because two eighths do not add up to a whole.

In our example the first full measure begins with a quarter note and the rest of the measure is a series of sixeighth notes. The second measure is a quarter note, two eighth notes, another quarter note and two moreeighth notes. Observe how in the first measure a quarter note and six eighth notes add up to a whole, and thatin the second measure a quarter, two eights, another quarter and two more eighths also add up to one whole.

By the way, although it's advisable, you really don't need to read music to be a guitar player or learn from tab.By listening to the music on a CD, you will know how long to hold the notes. Then it's just a matter of usingtab to help you find those notes on the fretboard.

There is obviously much morb to be said about reading music. But what I've provided here should be enoughto get you through this book. If you get stuck, let the audio on the CD guide you.

Using a Capo

One of the main drawbacks to open tunings is that they usually limit you to playing in one or two keys, butwith a trusty capo you can use open tunings for any key. Let's say you're in Open C and you want to back upyour buddy singing Wild Thing in D, you would just capo at the second fret and play normally, as if you

weren't capoed. The capo raises your open C chord to a D. It also raises the F chord to a G, the G chord to anA, and so forth.

G#GFfFEDfDCf,BAfA

But how do you determine where the capo should go? This requires a bit of very basic theory. You must know

how many half steps lie between the key you're playing in and the target key. For instance, in the above exam-ple you would need to know that it is two half steps from C (the key you're in) to D (the key you want.) Since

each fret on the guitar equals one half step, a two half-step interval would mean capo at the second fret.

It works the same way in standard tuning. Let's say you've leamed a cool blues tune in the key of E in stan-dard tuning. But you really want to sing it in the key of A. Where do you capo? Simple. There are five half

steps between E (the key you're in) and A (the key you want.) So put capo at the fifth fret and sing away.You're playing an E chord position with your left hand but the actual notes are five half steps higher, which is

the key of A.

But how do you know how many half steps lie between where you are and where you wa.lrt to be? This chartwill help you until you memorize the chromatic scale. Each note represents a half step.

C

Note that there is no B# or Ef; B-C and E-F are known as the "natural half tones."Counting left to right, from C to E is four half steps. So if you were in Open C and wanted to play in the key

of E, you capo at the fourth fret. Note that you do not count the key you're in as one half step. Thus, A to B is

two half steps, not three. B to C is one half step, not two. My little chart loops around also. If you're playing

in Open G (or a G chord in standard tuning) and you want to be in the key of C, you start counting one half

step from where you are all the way to C. Thus Gf , A, A#, B, C. That's five half steps, so you capo at the fifthfret.

Perhaps the lazy part of you is asking, "why not just learn to play in one key and use the capo for all otherkeys?" This takes me back to the introduction above. Remember that each key has its own distinct character.You will be a better musician if you have a number of different tunings at your disposal. If you are stuck in

one tuning your playing is more in danger of developing a predictable feel to it. You also lose out on theopportunities presented by each tuning.

Another reason to leam several open tunings is that people who are stuck in one tuning often begin to rely on

the same riffs and texfures. Their repertoire may begin to develop a formulaic flavor.

Finally, just as each tuning has its strengths, each also has its limitations. Once you become familiar with a

number of different open tunings you will be able to find the tuning that best gives voice to the piece you areplaying. So no skimping allowed. You've got to be versatile to get where you want to be.

OPEN C &n, runing track: c c c c c E

Let's get started with Open C tuning. Drop the sixth and fourth strings down to C; then raise the second stringby a half tone to C as well; finally, lower the A string one whole step to G. This is one of those "true" opentunings in that strumming the open strings creates a full chord, as opposed to, say, DADGAD and Orkney,which give you suspended chords. Open C is a bright sounding tuning because none of the treble strings (thefirst three strings) is tuned down and you actually tune your second string up to a C.

Basic Chords

As with each new tuning throughout the book, let's start with leaming some chords and bass runs.

In Open C, the easiest way to play the l, 4 and 5 chords is to simply play the strings open for the 1 chord, tobar all the strings at the 5th fret for the 4 chord, and to bar all the strings at the 7th fret for the 5 chord. Thatgives you the C, F and G chords. With those chords you can play hundreds of folk and blues songs.Here's what they look like in diagram form.

\J __----.-'16e numbers refer to lefrhand fingerings.111111 1- "0" means the string is played open, and

FFffiVII "x" means the string is not played.

Here are some other simple chords in Open C. Eventually you should learn to play these so that you have theirdifferent textures in your chordal repertoire.

F1 1 11 1

Gtx02031

ffiG

xO2O34

ffi

C000000

ffiF

x20301

ffiBass Runs in CT u n i n g : O p e n C ( C G C G C E )

&n.

Apply the bass runs from the previous page by backing me up onWorried Man Blues.

&uoAmazing GraceHere is a nice turangement of the world's most popular hymn. I've thrown in a blues ending for the adventur-ous among you. Feel free to ignore it if it gives you trouble.

&ou

=

IH ' P

= -T Tt l, S . P P

\ -1 -t -

T T ft t l

S ' S ' P P S '

T u n i n g : O p e n C ( C G C G C E )

f-TII

S P P

_

TI

p P

t 7 Tt t l

)c

H P S

Ending Blues Riff

Simple GiftsThis lovely Shaker hymn works beautifully in Open C.

&uu

Bass Run(meas. 1l)

T u n i n g : O p e n C ( C G C G C E )

9

with harmonies

- ? t )t - t - t -

7 f f ?t t t l

- u 2 Cl - l - r -

f t 7 7r t t l

t 8

= =_-f-f f =r' ? P

2nd time Fine

? - ? . t )

l f i f f rt v r l

10

Rambutan LadyThis is a tune I wrote especially for this book. It grabbed me enough that I later recorded it on an album. Myrecorded version is not much more complex than the one you are about to leam.Note: after the repeat the tune is embellished.

&ut T u n i n g : O p e n C ( C G C G C E )

OJ

11

Merrily Kissed the Quaker &nu played slowly &onThe great French guitarist Pierre Bensusan brought this Irish jig to the guitar world with his exquisiteDADGAD version of the tune. It also works nicely in Open C.

Tuning: openc(cccccE) TuneFormat:AAB B ""oxTTtl"

-t - T - T - a -t t t l

H l I P P I H H l H t t

- = - = =7 ' T ' f ' f - T .t t t t l

H ' ' p p r H H r H H , H p

= = = _ _, - T . t . ? . - . = .t t t t t l' H H ' H H ' P ' P H ' P ' P

= =T . 7 .l lI P I

=T .I

P P s

f . T .t t

P g H g H

B-Part Harmonv

r r

t 2

Blues in Open C &n,oHere's a little blues jam for you to wet your feet on.

T u n i n g : O p e n C ( C G C G C E )' l'rb.)-

? ? ? ? t C C Jl - t - t - t - t - t - t - ll - l - l - l - l

. f f f f f ? f rH l l g r r H r , l l

F Chord Blues RiffJust for fun, here's a funky F riff

&n, ,

T u n i n g : O p e n C ( C G C G C E )

I 3

Open C Textural Riff &n,,ln each tuning I'll provide you with a riff that illustrates the textural character of the tuning.Here is the Open C riff.

T u n i n g : O p e n C ( C G C G C E )

L4

OPEN G &o' , . run inet rack:DGDGBD

Open G is another "true" open tuning. From standard, drop the first, fifth, and sixth a whole tone. Strum itopen and you have a G major chord. The tuning is less bright than Open C. This is partly because you tune thefirst string down to a D and don't raise the second string, but its slightly darker texture is very pleasant andworks well for many tunes.

Basic Chords

As with Open C, the easiest way to play your 1, 4 and 5 chords is for the one chord to simply play the stringsopen, for the 4 chord to bar all the strings at the 5th fret and for the 5 chord to bar all the"strings at the 7th fret.That gives you your G, C and D chords.

VII

Here are a couple variations on these chords.

Dxx0340

ffiD

020340

ffiDt02031 0

ffiC

x0201 3

ffi&o,o

G000000

ffi

Bass Runs in GT u n i n g : O p e n G ( D G D G B D )

1 1 1 1 1 1 1 1 1 1 1 1

Accompany me now onWorried Man Blues. &nru15

Oh Susanna &utuThis old standard nicely illustrates the use of left hand hammer-ons and pull-offs in creating a melody in Open G.

T u n i n g : O p e n G ( D G D G B D )

( f ilf r r r

with harmonies

t 6

Silent Night &n7This Christmas classic works beautifully in Open G. Note how the simple barred C and D chords work per-fectly with the melody.

T u n i n g : O p e n G ( D G D G B D )

with harmonies

L7

Simple Gifts &n,,I've included an Open G version of this tune so you can compare its sound and texture with the Open C ver-sion in the previous section.

T u n i n g : O p e n G ( D G D G B D )

1 8

with harmonies

RV

i 7 i -t t t l(r- T T T

t t t lft 7

19

Blues in Open G &n,n

G Blues Riff &nro

Open G Textural Riff &n1One of the useful features of Open G is that it allows you to make ample use of harmony thirds.Here is an illustration.

T u n i n g : C G C G C D

ORKNEY TUNING &* runins track: c c D G c D

This is my favorite tuning. The tuning is an "altemative," as opposed to an "open" tuning. Strum it openand you don'tgetamajorchord. Instead you getaC with a suspended D (making it aC sus 2), and aGwith a suspended C, (making it a G sus 4.)

Orkney is a great tuning for Celtic, old time, blues and song accompaniment. It also enables you to playin the keys of C and G. Accompaniment in D is also quite easy, but that for a more advanced book.DADGAD players will have an easy time with Orkney because the first 5 strings of Orkney have the sameintervals between them as the second through sixth strings in DADGAD. Yet despite its similarity toDADGAD it has a verv different sound.

Chord Charts

Bass Runs in G &*Tuning: Orkney (C G D G C D)

Gtx0001 3

ffi

Gx00010

ffiG

x00014

ffi

Fxx2103

ffi

Orkney

C002003

ffiC

023004

ffi1 1 3 1 1 4

2 l

&uroAccompany me now onWorried Man Blues with the bass runs in G from the previous page.

&oruBass Runs in C

&oruAccompany me now onWorried Man Blues in the key of C.

22

Amazing Grace in G &n'Here is our first Orknev tune. Note that the next track is the same tune in the kev of C.

T 7 Tt t l

- T 't t l

I pc -pc l l I

T t ut t l Ii -

t l

s

Tuning: Orkney (C G D G C D)

r- -t l

T 't l r

H S

f r r rI

H H S

7 T Tt t l

e =

-?I

TI

- 3 -

23

Amazing Grace in C &n*

Tuning: Orkney (C G D G C D)

7-f 7 7t t t l p

s s

Little Beggar Man aka Red-Haired Boy &nrn played slowly &nroThis arrangement illustrates the ease with which you can play fast melodies in Orkney tuning.

(r

Tuning: Orkney (C G D G C D) Tune Format: AAB B AAB B

24

Tobin's Jig in G &0..' played slowly &n.,This is a classic Irish jig. Compare this version to the next track, which is the same tune in the key of C. Ihave also provided a DADGAD version later in the book.

25

Tobin's Jig in C &n.,

Tuning: Orkney (C G D G C D)

Orknev Blues &nro

Tuning: Orkney (C G D G C D)

- i -t t l

P P

26

- ( r rr

Tuning: Orkney (C G D G C D)

Orknev Blues Riff & u.u

Orkney Textural G Riff & nru

Orkney Textural C Riff &o'

Tuning: Orkney (C G D G C D)

Tuning: Orkney (C G D G C D)

27

DADGAD G* runing track

D000100

ffi

DADGAD has become the standard tuning for many guitarists, especially in the Celtic siene where it is nowthe most popular tuning. Like Orkney, DADGAD is technically not an "open" tuning. Play it open and you getaDchordw i thasuspendedG( thus ,aDsus4 . ) ,enab l i ngyou top lay in thekeyso fDandGwi thease .Manyguitarists are also able to use it to play in the key of A without a capo. I recently did a concert tour with a chapwho played a DADGAD tune in the key of C!

DADGAD Chord Charts

DADGAD Bass Runs &orn

Ax01203

ffiAtx02003

ffi2xO134

Tuning: DADGAD

Back me up now onWorried Man Blues. &uoo

28

Amazing Grace &no,Yet another chance for you to play this great piece in a different tuning.

Tunins: DADGAD

J

-H P

7I

p ' P

? ? ?t t l| | | p p ^

5

r-r r

Ir P

ip l' s '

Banish Misfortune Gno, played slowly Goo.This is a classic Irish jig. Note how the bass stays on the open 6th string throughout the tune. That creates anice driving drone that, despite its simplicity, is not the least bit monotonous.

Tune Format: AA B B C C AA B B C CTuning: DADGAD

29

E ^

Tobin's Jig &ooo played slowly GuouYou've already seen arrangements of this tune in the keys of C and G. Here's one in the key of D.

Tuning: DADGAD Tune Format: AA B B AA B B

30

DADGAD Blues &oou

= i r n i tl l

' i i - ( * ( r f

DADGAD Texturat Riff #1 &oo,

DADGAD Textural Riff #2 &oo,

3 I

AFTERWORDThanks for joining me on this open tunings joumey. After you've worked your way through this book, bury itsomewhere on your shelf or pass it on to someone else. It is not intended to be a long term companion guidingyou through the open tuning universe. It is just your launch pad. If you can play the tunes here, or even half ofthem, you will be well equipped to create your own arrangements, explore your own chord positions, createyour own textures and find your own means of expressing your musical voice with open tunings. The worstthing you could do is to become dependant on the tab provided here.

So toss the text aside and shoot for the sky. It may be slow going at first. But with a few leaps of faith you'llfind yourself soaring.

Onward!

STEVE BAUGHMAN

Steve Baughman is a world renowned fingerstyleguitarist who has authored five books for MelBay Publications. He has recorded extensivelyand appears on the Rounder Records CelticFingerstyle Series, Blarney Pilgrim. His duoalbum with Robin Bullock, Celtic Guitar Summit,was voted one of the favorite albums of 2003 byAcoustic Guitar Magazine. Steve is also one ofthe first pioneers of the "clawhammer" style ofplaying guitar. He can be reached through hiswebsite at www.celticguitar.com.

32

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