Hello there!

I made this little book as a result of a bunch of people over the years asking if I could show them some stuff or had any information I could send them about learning to play the Tenor Guitar.

Well, I'd go home and write down a bunch of chords, send it to them and rarely see them playing the Tenor. So this book is a pretty good starting point. After that, you have to listen to the chord voicing and create your own way to get through a tune. Hopefully the fiddler will holler at you if you get too far from home base.

This is created as a beginning guide to playing the Tenor as accompaniment to Texas-style fiddling. Not Irish, Appalachian, or Hula music.

In putting this book together I am assuming you already have a rudimentary knowledge of chord theory. I hope the reader understands the relative minor to the chords. (i.e. key of G, it's Em, C it's Am, F it's Dm, etc.)

Also an ear that can hear the "circle of 5 t h ~ " going on in a tune, or a turnaround between sections, and at the end of some tunes, like "Rags" (G, E7, D7, G, or G, G#¡ Am7, D7 - etc.) If you play the music (Texas Fiddling), you probably understand these situations. Seems to me, folks who set out to learn the Tenor were inspired by good fiddling or good guitar back-up.

The Tenor has an almost cult-like status. Good Tenor players aren't too common. When you find one, take the time to learn a new way to get through a passage while you have the opportunity to do so. It may be quite a while before you run into another one.

I have to say I owe my thanks to the following for helping me get going on the Tenor: Thanks to Pete Martin, Joey McKenzie, Al Mouledous and Jerry Thomasson. All these guys know a hell of a lot more about music than me. If you run into them, learn something!

I hope you learn something here. Don't be too obnoxious with it. And don't become one of those know-it-all players. Someone might just bash that tenor over your head.

Warning: Playing the Tenor can be tough on your left arm and wrist. If you get a cramp near your thumb and up to your wrist, hang your arm and shake it out. If it comes back, take a break. I've been lucky in that it does not affect me in that way. What can I say?

STRINGS

You will have to buy individual strings for your tenor. I use bronze wound strings on the two lower ones and plain, unwound on the two higher strings. If you like a more thuddy sound, try nickel wrapped.

WOUND STRINGS

I use a .032 for the FIRST STRING. Tune this string to "C".

For the SECOND STRING use a .024 Tune this baby to "G.

UNWOUND STRINGS

THIRD STRING uses a .014. Wind it up to "D".

And for the FOURTH STRING use a .010. Gotta get it up to "A". (I remember Jerry using .030. .022, .014 & .010. Whereas A1 may use .036, .028, .016 or .010.)

Warning: "A" strings (.010) break all the time. Make sure your saddle is smooth as can be. There should be no nicks in it. It may break anyway because it's about as tight as it can be tuned in "A". I broke 17 strings in 20 minutes at Weiser this year, but I was really whomping on it.

CYCLE OF FIFTHS

Most "Rags" and quite a few Polkas and Waltzes revolve around the cycle. Here are your relative minors and number of sharps 8;: flats in each key. Clockwise is 5 th and counterclockwise is 4 t h ~ .

TURNAROUNDS

Be mindful of the fiddler's tempo. I've heard many a novice speed up these turnarounds in rags and waltzes. Don't you do that. It is annoying to say the least!

Again, hit the low string (bass note). Then hit the chord in the typical Boom- Chuck style of Texas back up.

Here are a couple of ideas to get your ears started:

I- ' 3 'l

^ tin t ^ ^ i ~ -W-