the guitar of mississippi john · pdf filethe guitar of mississippi john hurt volume two ......
TRANSCRIPT
The Guitar ofMississippiJohn Hurt
Volume Twotaught by
John Miller
2
Contents
You Got To Walk That Lonesome Valley ................................................................ 4
Worried Blues ................................................................................................................. 8
Avalon Blues ................................................................................................................ 12
Richland Woman Blues ............................................................................................ 15
Big Leg Blues ............................................................................................................... 19
Candyman .................................................................................................................... 23
Payday ........................................................................................................................... 29
3
About the TablatureMost guitarists who transcribe songs using tablature have their own ways of communicating what the player who wishes to play
a song will have to do to get the job done. In this respect, I’m like everyone else—I have my own wrinkles on the system. If youobserve the following points, I believe the tab will be clear.• Notes with downward stems are played by the thumb of the right hand. Notes with upward stems are played by the
fingers of the right hand.• Where two notes are connected by a slur, the letters H, P and SL indicate a hammer-on, a pull-off, or a slide. An
arrow curved upwards (Á ) and the letter B indicates that the note is bent, and an arrow curved downwards (˜ )indicates thatthe bend is released.
• A straight arrow up or down ( e r ) indicates a strum or brush stroke. The direction of the arrow indicates the direction ofthe stroke, relative to the strings represented by the lines in the tablature.
• The tablature employs the same methods of notating rhythm as does standard music notation. A quarter note (Œ)has the same duration as two eighth notes (ŒÂ) or four sixteenth notes (ŒÊÊÊ). A single eighth note looks like ‰and a single sixteenth note has a doubled flag (Ù). Each of these note values has its own rest symbol, as well—thequarter rest (Ô), the eighth rest (Ò), and the sixteenth rest (Å). A dot following a note or rest adds on one half of thenote or rest’s rhythmic duration. An eighth note triplet ( ŒÍ ) divides one beat into three notes of equal duration.
• The 12/8 time signature has four beats per measure with each beat divided into three eighth notes. Thus the beat canbe broken into three eighth notes (ŒÂÂ), a so-called broken triplet (Œ ‰), or one beat (Œ.), the dotted quarter note.
• When a note is sustained or held across beats, the notes are connected by a tie (Œ ∏Œ). Where two notes are tied, only the first noteis plucked by the right hand—the left hand continues to hold the position for the duration of the second note. Thus ties are helpfulnot only for indicating how long notes should sustain, but also when the left hand should move.
Good luck and have fun!
Mississippi John Hurt’s MusicJohn Hurt was born in Teoc, Mississippi in 1892, but lived most of his life in Avalon, Mississippi. In 1928, after being
recommended for recording by his neighbors, fiddler Willie Narmour and guitarist Shell Smith, John Hurt recorded 13 songs for OkehRecords. He returned to Avalon and nothing was heard of him outside of his home area until 1963, when Tom Hoskins, a youngCountry Blues enthusiast, “rediscovered” him, recorded him, and arranged for him to perform at the Newport and Philadelphia FolkFestivals. From that point onward, until his death in 1966, John Hurt traveled and performed, charming audiences wherever he went.
Such are the bare bones of John Hurt’s life. What of his music? It has a quality of being simultaneously familiar and mysterious,because the more you listen to Mississippi John Hurt, the more you realize how different he was, not only from other musicians of hisregion, but from anyone else in the Country Blues genre. His music bore some similarities to the playing of Furry Lewis and FrankStokes, both transplanted Mississippians who lived in Memphis, but whereas both Furry and Frank were two-finger pickers whoemployed a lot of brush strokes, John Hurt was a three-finger picker who seldom used brush strokes, preferring to pick single strings.John Hurt played with facility in E, A, D, G and C in standard tuning, as well as open G and open D tuning. Of recorded countrybluesmen of his region and generation, only Bo Carter shows comparable versatility. John Hurt’s characteristic rhythmic feel wasutterly distinctive, featuring a driving alternation in the bass, varied with tricky omitted beats and connecting runs. His repertoire washuge, encompassing blues of his own composition, ballads, hymns and forgotten pop ditties of his childhood.
Playing Mississippi John Hurt’s songs puts you in a position to appreciate his originality and imagination, as well as the fact thatwhile his music was strong and clear, it certainly was not simple. Continuing to play his music will help keep it alive. Let’s do that.
4
You Got To WalkThat Lonesome Valley
Mississippi John HurtKey of G, standard tuning
This was played in G, standard tuning, and was John’s version of a song popular in both the African-American and White Countrytraditions. The way John Hurt takes the sixth string along for the ride when the melody ascends the first string is a technique he alsoused in his solo to “Casey Jones.” The muted bass notes are indicated in the TAB by the symbol , above the affected notes.
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7
YOU GOT TO WALK THAT LONESOME VALLEY(Legends of Country Blues Guitar: Vestapol 13003)
You got to walk that lonesome valleyWell, you got to walk it for yourselfAin’t nobody else can walk it for youYou got to walk that valley for yourself.
My mother had to walk that lonesome valleyWell, she had to walk it for herselfIt’s nobody else could walk it for herYes, she had to walk that valley for herself.
Oh yes, you got to walk that lonesome valleyWell, you got to walk it for yourselfIt’s nobody else can walk it for youYou got to walk that valley for yourself.
My father had to walk that lonesome valleyHe had to walk it for hisselfIt’s nobody else could walk it for himHe had to walk that valley for hisself.
Oh, Jesus had to walk that lonesome valleyHe had to walk it for hisselfIt’s nobody else could walk it for himHe had to walk that valley for hisself.
Oh yes, you got to walk that lonesome valleyWell, you got to walk it for yourselfIt’s nobody else can walk it for youYou got to walk that valley for yourself.
8
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Worried Blues
Mississippi John HurtKey of A, standard tuning
“Worried Blues,” played in A, standard tuning, was transcribed from Rounder CD 1082. It is one of John Hurt’s mostintense performances on record, and he really sounds like he is going for broke instrumentally and vocally. The short secondline in the verses adds a note of urgency.
9
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11
WORRIED BLUES(Rounder CD 1082)
Don’t your home look lonesome when your baby pack up and leave?Home look so lonesomeDon’t your home look lonesome when your baby pack up and leave?
Home look so lonesome when your baby pack up and leaveHome look lonesomeHome look so lonesome when your baby pack up and leave.
Don’t the sun look lonesome shining down through the trees?Don’t the sun look lonesome?Sun look so lonesome shining down through the trees.
Oh, tell me, baby, what’s the matter now?I want to knowOh, Lordy, baby, tell me what’s the matter now?
Is you gonna quit your daddy anyhow?Is you gonna quit your…Is you gonna quit your daddy anyhow?
Baby, that’s all right, that’s all right for youBaby, that’s all rightBaby, that’s all right, honey, that’s all right for you.
Well, you know I love you any way you doYou know I love youYou know I love you any old way you do.
I want to know what’s the matter, something going on wrongTell me what’s the matter, babyWent away last night and you stayed out all night long.
Honey, that’s all right, that’s all right for youBaby, that’s all rightI love you, baby, any old way you do.
Well the sun going down, ain’t this a lonesome place?Sun going downSun going down, ain’t this a lonesome place?
I feel so lonely, can’t see my baby’s face(Guitar plays line)So lonesome here, I can’t see my baby’s face.
Well, Lordy, baby, please don’t put me downPleaseYou are the sweetest girl in town.
Don’t your home look lonesome when your baby pack up and leave?Home look so lonesomeHome look lonesome when your baby pack up and leave.
12
Avalon Blues“Avalon Blues” was transcribed from Rounder CD 1081, and is played out of E, standard tuning. It is exceptionally fun to
play and the signature lick really works its way under your skin. Like some of Robert Wilkins’s songs, “Avalon Blues” has a formwhich is simultaneously original and completely natural.
Mississippi John HurtKey of E, standard tuning
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ÔINTRO
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AVALON BLUES(Rounder CD 1081)
Avalon my home town, always on my mind (2x)
Pretty mamas in Avalon want me there all the time (2x)
When I left Avalon, throwing kisses and waving at me (2x)
Says, “Come back, Daddy, and stay right here with me.” (2x)
Avalon my home town, got no great big rainAvalon my home townAvalon my home town, got no great big rain.
Pretty mamas in Avalon sure will spend your changePretty mamas in AvalonPretty mamas in Avalon sure will spend your change.
15
Richland Woman Blues
Mississippi John HurtKey of C, standard tuning
“Richland Woman Blues,” played in C, standard tuning, was transcribed from Rounder CD 1081. Both the tune and thelyrics evoke the Ragtime Era, and you could tell that John Hurt really relished singing it.
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18
RICHLAND WOMAN BLUES(Rounder CD 1081)
Give me red lipstick and a bright poppy rougeA shingle-bob haircut and a shot of good booze.(Chorus:)Hurry down, sweet daddy, come blowing your hornIf you come too late, sweet mama will be gone.
Stop at the fashion shop, get the one looks bestYour own sweet mama wants a brand new dress.
(Chorus)
Red rooster says… (guitar finishes verse and chorus)
Red rooster says, “Cock-a-doodle-doo-doo”The Richland woman says, “Any dude will do.”
(Chorus)
Repeat verse 2 and chorus
Dress skirt cut high, then they cut lowDon’t think I’m a sport? Keep on watching me go!
(Chorus)
Every Sunday morning, church, watch me goMy wings are sprouted out, the preacher told me so.
(Chorus)
“Come along, young man, everything’s sitting rightMy husband’s going away ’til next Saturday night.”
(Chorus)
19
Big Leg BluesPlayed in D, standard tuning, “Big Leg Blues” was transcribed from Mississippi John Hurt Avalon Blues: The
Complete 1928 Okeh Recordings, Columbia/Legacy CK 64986. It is one of John Hurt’s subtlest pieces and abounds inintricate detail work. The ascending bass run in bars 5–6 and 9–10 is easier to play if you drag your thumb through inone motion rather than winding up and hitting each string with a separate attack.
Mississippi John HurtKey of D, standard tuning
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22
BIG LEG BLUES(Mississippi John Hurt Avalon Blues: The Complete 1928
Okeh Recordings, Columbia/Legacy CK 64986)
Raise up, baby, get your big leg off of mine (2x)It's so heavy make a good man change his mind.
I asked you, baby, come and hold my head (2x)Sent me word that you’d rather see me dead.
I’m going, I’m going, crying won’t make me stay (2x)More you cry, further you drive me away.
Some crave high yellow, I like black and brown (2x)Black won’t quit you, brown won’t let you down.
It was late at midnight, the moon shined bright like day (2x)I seen your faro going up the right of way.
23
CandymanTranscribed from Rounder CD 1081, “Candyman” is played out of A, standard tuning, and is a real tour de force.
The solo is huge, and I know very little in the way of anything to compare it to in the style. Probably the piece closest toit is an instrumental by the Tennessee guitarist, Sam McGee, called “Sally Long.” The variety and unexpected nature ofJohn Hurt’s thumbwork on “Candyman” make it a real challenge to play.
Mississippi John HurtKey of A, standard tuning
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CANDYMAN(Rounder CD 1081)
Well, all you ladies, gather roundGood sweet candyman’s in townIt’s the candyman.
He’s got stick candy that’s nine inches longHe sells as fast, a hog can chew his cornIt’s the candymanIt’s the candyman.
Well, you all heard what Sister Jones saidShe always take the candy stick to bedIt’s the candyman.
Well, you and the candyman, you’re getting mighty slickUmm hmm, umm hmmYou must be stuck on the candyman’s stickUmm hmm, umm hmm
Well, all you ladies, gather roundThe good sweet candyman’s in townIt’s the candymanIt’s the candyman.
Hey, his stick candy don’t melt awayIt just gets better so the ladies sayIt’s the candyman.
You and the candyman are getting mighty slickUmm hmm, umm hmmYou must be stuck on the candyman’s stickUmm hmm, umm hmm
29
PaydayPlayed in open D tuning, this version of “Payday” comes from Rounder CD 1100. It has a beautiful ruminative
quality and the fact that there are no chord changes just adds to the trance-like feeling it evokes. I could easily imaginethe melody in African or Asian music.
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VERSE
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PAYDAY(Rounder CD 1100)
I done all I could do and I can’t get along with youI’m gonna take you to your Mama, pay dayPay day, pay dayI’m gonna take you to your Mama, pay day.
Just about a week ago, I stole me a ham of meatI’m gonna keep my skillet greasy if I canIf I can, if I can.
Well, the rabbit in the log, I ain’t got no rabbit dogLord, I hate to see that rabbit get awayGet away, get awayLord, I hate to see that rabbit get away.
Well, I’ve did all I can do and I can’t get along with youI’m gonna take you to your Mama, pay dayPay day, pay day.
Repeat last verse