{"id":129155,"date":"2022-05-22T06:00:00","date_gmt":"2022-05-22T13:00:00","guid":{"rendered":"https:\/\/acousticguitar.com\/?p=129155"},"modified":"2023-05-31T19:59:53","modified_gmt":"2023-06-01T02:59:53","slug":"improve-your-flatpicking-technique-mother-maybelle-carter-exercises","status":"publish","type":"post","link":"https:\/\/acousticguitar.com\/improve-your-flatpicking-technique-mother-maybelle-carter-exercises\/","title":{"rendered":"Improve Your Flatpicking Technique with These Mother Maybelle Carter-Inspired Exercises"},"content":{"rendered":"\n<p>The playing of Mother Maybelle Carter beautifully punctuates the fabled recordings of the Carter Family with a richness that is only further revealed through close study, transcription, and analysis. Though her playing is decidedly melodic, both in her bass runs and guitar solos on vocal songs, she is not often heard playing strictly melodic numbers.<\/p>\n\n\n\n<p>In this Weekly Workout, I\u2019ll present a pair of lesser-known Carter cuts as the source materials for some melodic flatpicking exercises\u2014the instrumental \u201cCumberland Gap\u201d from her 1963 abum <em><a href=\"https:\/\/amzn.to\/3wuDO7O\" target=\"_blank\" rel=\"noreferrer noopener\">Pickin\u2019 and Singin\u2019<\/a><\/em>, and her take on the Delmore Brothers song \u201cI\u2019m Leaving You\u201d from <em><a rel=\"noreferrer noopener\" href=\"https:\/\/amzn.to\/3qraMlN\" target=\"_blank\">Close to Home: Old Time Music from Mike Seeger\u2019s Collection 1952\u20131967<\/a><\/em>.<\/p>\n\n\n\n<hr class=\"wp-block-separator\"\/>\n\n\n\n<p><em><a rel=\"noreferrer noopener\" href=\"https:\/\/acousticguitar.com\/tag\/weekly-workout\" target=\"_blank\">Weekly Workout\u00a0<\/a>is a series of monthly guitar exercises made up of interesting technical workouts that will get your fretting- and picking-hand fingers working in different ways, and offer musical studies that will help you visualize and explore the fingerboard.<\/em><\/p>\n\n\n\n<hr class=\"wp-block-separator\"\/>\n\n\n\n<p>I\u2019ve organized the lesson along two axes: by difficulty and by section. In the first week, you\u2019ll learn the first of the two sections of \u201cCumberland Gap,\u201d as well as a more difficult version with extended techniques and flourishes. Week 2 will use this same treatment for the second section. In Weeks 3 and 4, we\u2019ll use the same approach to tackle \u201cI\u2019m Leaving You.\u201d By the end of this Weekly Workout, you will have two playable arrangements that are meant to develop your technique and understanding of the flatpicking idiom.<\/p>\n\n\n\n<figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-4-3 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\n<span class=\"embed-youtube\" style=\"text-align:center; display: block;\"><iframe class=\"youtube-player\" width=\"1290\" height=\"726\" src=\"https:\/\/www.youtube.com\/embed\/kJC41nVECSs?version=3&#038;rel=1&#038;showsearch=0&#038;showinfo=1&#038;iv_load_policy=1&#038;fs=1&#038;hl=en-US&#038;autohide=2&#038;wmode=transparent\" allowfullscreen=\"true\" style=\"border:0;\" sandbox=\"allow-scripts allow-same-origin allow-popups allow-presentation allow-popups-to-escape-sandbox\"><\/iframe><\/span>\n<\/div><figcaption class=\"wp-element-caption\"><em>&#8220;Cumberland Gap,&#8221; Carter Family version<\/em><\/figcaption><\/figure>\n\n\n\n<h3 class=\"wp-block-heading\"><strong>Week One: Introducing Crosspicking with &#8216;Cumberland Gap&#8217;<\/strong><\/h3>\n\n\n\n<p>\u201cCumberland Gap\u201d has a simple 16-bar structure, with each of its sections containing a four-measure phrase played twice. Let\u2019s start with the first section on the Carter Family recording, which places the melody in a higher register. (Note that most versions of \u201cCumberland Gap\u201d start oppositely, with a lower melody.)&nbsp;<\/p>\n\n\n\n<p><strong>Example 1 <\/strong>is rather straightforward, as the melody falls largely on open strings located in the upper portion of the open C chord we all know and love. (On the original recording, Carter used a capo at the fourth fret, causing the chord to sound as E.) With this said, though, it is important to pay close attention to dynamics when rendering this section. Because the higher strings have less inherent sounding potential than the lower strings, greater emphasis will need to be put on balancing dynamicsacross the guitar\u2019s string sets.&nbsp;<\/p>\n\n\n\n<p>A logic that will apply to all of these examples is a strict adherence to picking direction: downbeats get downstrokes and upbeats get upstrokes. The same goes for the syncopations\u2014for example, if there is a lone eighth note that falls on the \u201cand\u201d of a beat, it will be played with an upstroke to prepare use for the proceeding downbeat.<\/p>\n\n\n\n<p><strong>Example 2<\/strong> presents distinct challenges, as it incorporates cross-picking, strums, and chordal ornaments to deliver the melody in an all-in-one package. Some players use a down-down-up picking pattern, though I suggest sticking to an alternating picking pattern for the sake of cohesion. As with any tricky passage, this will be best tackled at slower tempos to begin with, measure by measure.<\/p>\n\n\n\n<blockquote class=\"wp-block-quote\">\n<p><strong>Beginners\u2019 Tip #1<\/strong><br>To get the hang of alternate picking, try playing consistent quarter notes on a single string, with downstrokes only. Following this, play eighth notes at an even dynamic level, with alternating down- and upstrokes. Note that upstrokes are naturally weaker, necessitating special emphasis when first practiced.&nbsp;<\/p>\n<\/blockquote>\n\n\n\n<h3 class=\"wp-block-heading\"><strong>Week Two: Refining the Details<\/strong><\/h3>\n\n\n\n<p>You\u2019ll notice that the majority of the single notes found in <strong>Example 3<\/strong> fall within the open C shape. The trick with getting this passage to come across convincingly is a surplus of strength in your fretting hand. It is important to remember that in Carter\u2019s playing, open strings often ring into one another, creating overtones that are integral to rendering a melody in a flowing manner. Another important feature is her use of lighter strums on the chords in measures 1 and 4.<\/p>\n\n\n\n<p>In <strong>Example 4<\/strong>, you\u2019ll notice that the core melody is left intact to a large extent. Around this core framework, cross-picking has been added to flesh out the arrangement in a banjo-like manner. Just like the cross-picked example in week 1, take your time to give equal attention to dynamics, rhythmic accuracy, and tone. Specifically in bar 4, pay close attention to the precision required by the grace note at the top of the measure, the eighth-note strumming pattern, as well as the chromatic run that leads us to the top of the tune.<\/p>\n\n\n\n<blockquote class=\"wp-block-quote\">\n<p><strong>Beginners\u2019 Tip #2<\/strong><br>For better control of dynamics, practice with a metronome, preferably with headphones. Using the volume level of the metronome as a reference point, try to match all of your notes to the same dynamic level for increased balance, and to render the melody in a manner distinct from the lower notes.<\/p>\n<\/blockquote>\n\n\n\n<figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-4-3 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\n<span class=\"embed-youtube\" style=\"text-align:center; display: block;\"><iframe class=\"youtube-player\" width=\"1290\" height=\"726\" src=\"https:\/\/www.youtube.com\/embed\/V3JYYUNqpqE?version=3&#038;rel=1&#038;showsearch=0&#038;showinfo=1&#038;iv_load_policy=1&#038;fs=1&#038;hl=en-US&#038;autohide=2&#038;wmode=transparent\" allowfullscreen=\"true\" style=\"border:0;\" sandbox=\"allow-scripts allow-same-origin allow-popups allow-presentation allow-popups-to-escape-sandbox\"><\/iframe><\/span>\n<\/div><figcaption class=\"wp-element-caption\"><em>&#8220;I&#8217;m Leaving You&#8221;<\/em><\/figcaption><\/figure>\n\n\n\n<h3 class=\"wp-block-heading\"><strong>Week Three: <\/strong>Tricky Dynamics of &#8216;I&#8217;m Leaving You&#8217; <\/h3>\n\n\n\n<p>This week you\u2019ll work with \u201cI\u2019m Leaving You,\u201d which incorporates fewer open strings than the previous tune, making it more difficult to play in a flowing manner. It also contains more single-note runs and ideas that provide ample opportunity to practice the use of dynamics. Looking at <strong>Example 5<\/strong>, it is important to render the first four measures with accuracy and robust tone, before moving on to bars 5\u20138, which require a lighter attack to render the strums concisely.&nbsp;<\/p>\n\n\n\n<p>The intention of <strong>Example 6<\/strong> is to showcase how one might go about working out in a higher register. Set an octave above, this example is a note-for-note transposition of the first four bars of Ex. 5.For an extra workout, try playing the low and high versions back-to-back with consistent timing, feel, and accuracy alongside a metronome.<\/p>\n\n\n\n<blockquote class=\"wp-block-quote\">\n<p><strong>Beginners\u2019 Tip #3<\/strong><br>Try switching between rhythmic and melodic playing, measure by measure. To do this, play the first two measures of <strong>Example 5<\/strong>, followed by two bars of a strummed G chord. Once you\u2019ve mastered this, apply the same philosophy to measures 3 and 4.<\/p>\n<\/blockquote>\n\n\n\n<h3 class=\"wp-block-heading\"><strong>Week Four: Unique Note Choices in Melodic Bass Runs<\/strong><\/h3>\n\n\n\n<p><strong>Example 7 <\/strong>presents a master class in unique note choice within the context of melodic bass runs. For example, the pull-off from the fretted third string in measure 6 and the dense chromaticism of the concluding idea in measure 7 are challenging yet very rewarding when played accurately. When tackling passages such as these, which combine a number of different fretting-hand positions, do your best to envision them before physically learning the ideas. This will not only help you to play them confidently but will help you to retain them for creative use in other contexts.&nbsp;<\/p>\n\n\n\n<p>For some added twists, try <strong>Example 8<\/strong>, which makes use of a higher shape for the G chord, extended chromaticism in measure 3, and an eighth-note triplet in the last bar. This treatment gives the solo a more modern, bluegrass edge. In addition, cross-picking is used in the context of rhythm playing; this is a tricky concept as you have fewer quarter-note strums to fall back on. Instead, you must trust in your ability to play rapid eighth notes with high rhythmic accuracy, and with robust tone to pick up the slack.&nbsp;<\/p>\n\n\n\n<p>After you\u2019ve worked through these examples, I\u2019d encourage you to check out the original recordings of Mother Maybelle Carter. Though lessons like this might contain detailed transcriptions and insights, they simply cannot convey the knowledge that comes from deep listening.<\/p>\n\n\n\n<blockquote class=\"wp-block-quote\">\n<p><strong>Beginners\u2019 Tip #4&nbsp;<\/strong><br>As an exercise in style and technique, try incorporating the bass run found in measures 7 and 8 of <strong>Example 7<\/strong> into your rhythm playing. As with the other ideas in this lesson, do your best to balance dynamics between your strums and single notes in a seamless way.<\/p>\n<\/blockquote>\n\n\n\n<figure class=\"wp-block-image size-large\"><a href=\"https:\/\/i0.wp.com\/acousticguitar.com\/wp-content\/uploads\/2022\/03\/AG334-WW-CARTER-FLATPICKING-EX-1-4.png?ssl=1\"><img fetchpriority=\"high\" decoding=\"async\" width=\"765\" height=\"1024\" src=\"https:\/\/i0.wp.com\/acousticguitar.com\/wp-content\/uploads\/2022\/03\/AG334-WW-CARTER-FLATPICKING-EX-1-4.png?resize=765%2C1024&#038;ssl=1\" alt=\"Mother Maybelle Carter flatpicking guitar lesson music notation sheet 1\" class=\"wp-image-129163\" srcset=\"https:\/\/i0.wp.com\/acousticguitar.com\/wp-content\/uploads\/2022\/03\/AG334-WW-CARTER-FLATPICKING-EX-1-4.png?resize=765%2C1024&amp;ssl=1 765w, https:\/\/i0.wp.com\/acousticguitar.com\/wp-content\/uploads\/2022\/03\/AG334-WW-CARTER-FLATPICKING-EX-1-4.png?resize=224%2C300&amp;ssl=1 224w, https:\/\/i0.wp.com\/acousticguitar.com\/wp-content\/uploads\/2022\/03\/AG334-WW-CARTER-FLATPICKING-EX-1-4.png?resize=768%2C1028&amp;ssl=1 768w, https:\/\/i0.wp.com\/acousticguitar.com\/wp-content\/uploads\/2022\/03\/AG334-WW-CARTER-FLATPICKING-EX-1-4.png?resize=448%2C600&amp;ssl=1 448w, https:\/\/i0.wp.com\/acousticguitar.com\/wp-content\/uploads\/2022\/03\/AG334-WW-CARTER-FLATPICKING-EX-1-4.png?w=1084&amp;ssl=1 1084w\" sizes=\"(max-width: 765px) 100vw, 765px\" data-recalc-dims=\"1\" \/><\/a><\/figure>\n\n\n\n<figure class=\"wp-block-image size-large\"><a href=\"https:\/\/i0.wp.com\/acousticguitar.com\/wp-content\/uploads\/2022\/03\/AG334-WW-CARTER-FLATPICKING-EX-4-7.png?ssl=1\"><img decoding=\"async\" width=\"766\" height=\"1024\" src=\"https:\/\/i0.wp.com\/acousticguitar.com\/wp-content\/uploads\/2022\/03\/AG334-WW-CARTER-FLATPICKING-EX-4-7.png?resize=766%2C1024&#038;ssl=1\" alt=\"Mother Maybelle Carter flatpicking guitar lesson music notation sheet 2\" class=\"wp-image-129164\" srcset=\"https:\/\/i0.wp.com\/acousticguitar.com\/wp-content\/uploads\/2022\/03\/AG334-WW-CARTER-FLATPICKING-EX-4-7.png?resize=766%2C1024&amp;ssl=1 766w, https:\/\/i0.wp.com\/acousticguitar.com\/wp-content\/uploads\/2022\/03\/AG334-WW-CARTER-FLATPICKING-EX-4-7.png?resize=224%2C300&amp;ssl=1 224w, https:\/\/i0.wp.com\/acousticguitar.com\/wp-content\/uploads\/2022\/03\/AG334-WW-CARTER-FLATPICKING-EX-4-7.png?resize=768%2C1026&amp;ssl=1 768w, https:\/\/i0.wp.com\/acousticguitar.com\/wp-content\/uploads\/2022\/03\/AG334-WW-CARTER-FLATPICKING-EX-4-7.png?resize=449%2C600&amp;ssl=1 449w, https:\/\/i0.wp.com\/acousticguitar.com\/wp-content\/uploads\/2022\/03\/AG334-WW-CARTER-FLATPICKING-EX-4-7.png?w=1079&amp;ssl=1 1079w\" sizes=\"(max-width: 766px) 100vw, 766px\" data-recalc-dims=\"1\" \/><\/a><\/figure>\n\n\n\n<figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-4-3 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\n<span class=\"embed-youtube\" style=\"text-align:center; display: block;\"><iframe class=\"youtube-player\" width=\"1290\" height=\"726\" src=\"https:\/\/www.youtube.com\/embed\/05hfd2Vsdgo?version=3&#038;rel=1&#038;showsearch=0&#038;showinfo=1&#038;iv_load_policy=1&#038;fs=1&#038;hl=en-US&#038;autohide=2&#038;wmode=transparent\" allowfullscreen=\"true\" style=\"border:0;\" sandbox=\"allow-scripts allow-same-origin allow-popups allow-presentation allow-popups-to-escape-sandbox\"><\/iframe><\/span>\n<\/div><figcaption class=\"wp-element-caption\"><em>&#8220;East Virginia Blues&#8221;<\/em><\/figcaption><\/figure>\n\n\n\n<h3 class=\"wp-block-heading\">Take it to the Next Level with &#8216;East Virginia Blues&#8217;<\/h3>\n\n\n\n<p>For an extra challenge, try learning this excerpt from Mother Maybelle\u2019s playing on \u201cEast Virginia Blues.\u201d I\u2019ve included a healthy amount of cross-picking to reflect and build upon the framework in the original recording. As with the other examples in this lesson, start slowly, measure by measure, paying close attention to dynamics and accuracy.&nbsp;<\/p>\n\n\n\n<figure class=\"wp-block-image size-large\"><a href=\"https:\/\/i0.wp.com\/acousticguitar.com\/wp-content\/uploads\/2022\/03\/AG334-WW-CARTER-FLATPICKING-NEXT-LEVEL.png?ssl=1\"><img decoding=\"async\" width=\"1024\" height=\"243\" src=\"https:\/\/i0.wp.com\/acousticguitar.com\/wp-content\/uploads\/2022\/03\/AG334-WW-CARTER-FLATPICKING-NEXT-LEVEL.png?resize=1024%2C243&#038;ssl=1\" alt=\"Mother Maybelle Carter flatpicking guitar lesson music notation sheet 3\" class=\"wp-image-129162\" srcset=\"https:\/\/i0.wp.com\/acousticguitar.com\/wp-content\/uploads\/2022\/03\/AG334-WW-CARTER-FLATPICKING-NEXT-LEVEL.png?resize=1024%2C243&amp;ssl=1 1024w, https:\/\/i0.wp.com\/acousticguitar.com\/wp-content\/uploads\/2022\/03\/AG334-WW-CARTER-FLATPICKING-NEXT-LEVEL.png?resize=300%2C71&amp;ssl=1 300w, https:\/\/i0.wp.com\/acousticguitar.com\/wp-content\/uploads\/2022\/03\/AG334-WW-CARTER-FLATPICKING-NEXT-LEVEL.png?resize=768%2C182&amp;ssl=1 768w, https:\/\/i0.wp.com\/acousticguitar.com\/wp-content\/uploads\/2022\/03\/AG334-WW-CARTER-FLATPICKING-NEXT-LEVEL.png?resize=600%2C142&amp;ssl=1 600w, https:\/\/i0.wp.com\/acousticguitar.com\/wp-content\/uploads\/2022\/03\/AG334-WW-CARTER-FLATPICKING-NEXT-LEVEL.png?w=1079&amp;ssl=1 1079w\" sizes=\"(max-width: 1024px) 100vw, 1024px\" data-recalc-dims=\"1\" \/><\/a><\/figure>\n\n\n\n<p><em><a rel=\"noreferrer noopener\" href=\"http:\/\/cameronknowler.com\" data-type=\"URL\" data-id=\"cameronknowler.com\" target=\"_blank\">Cameron Knowler<\/a>, author of the method book <\/em>Guitars Have Feelings Too<em>, is a Los Angeles\u2013based multi-instrumentalist and educator specializing in jazz, bluegrass, and old-time music.<\/em><\/p>\n\n\n\n<div style=\"display: inline-block; padding: 0px 0px 0px 0px; margin: -5px 5% 0px 5%;\"><a href=\"https:\/\/store.acousticguitar.com\/products\/no-334-may-june-2022\"><img decoding=\"async\" style=\"width: 150px; height: 198px; margin: 0px 20px 10px 0px;\" src=\"https:\/\/i0.wp.com\/acousticguitar.com\/wp-content\/uploads\/2015\/11\/001_334_Cover-150px.jpg?w=1290&#038;ssl=1\" data-recalc-dims=\"1\"><\/a>\n<p style=\"font-family: sans-serif; margin: 0px 0px 15px 0px;\">This article originally appeared in the <a href=\"https:\/\/store.acousticguitar.com\/products\/no-334-may-june-2022\">May\/June 2022<\/a> issue of <em>Acoustic Guitar<\/em> magazine.<\/p>\n<\/div>\n\n\n\n<hr class=\"wp-block-separator has-css-opacity\"\/>\n","protected":false},"excerpt":{"rendered":"<p>In this guitar lesson, these arrangements of two songs by Mother Maybelle Carter will help develop your technique and understanding of the flatpicking idiom.<\/p>\n","protected":false},"author":5,"featured_media":129166,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"video","meta":{"advanced_seo_description":"In this guitar lesson, these arrangements of two songs by Mother Maybelle Carter will help develop your technique and understanding of the flatpicking idiom.","jetpack_seo_html_title":"","jetpack_seo_noindex":false,"footnotes":"","jetpack_publicize_message":"","jetpack_publicize_feature_enabled":true,"jetpack_social_post_already_shared":true,"jetpack_social_options":{"image_generator_settings":{"template":"highway","enabled":false}}},"categories":[1655],"tags":[1388,676],"ppma_author":[1608],"blocksy_meta":[],"jetpack_publicize_connections":[],"jetpack_sharing_enabled":true,"jetpack_featured_media_url":"https:\/\/i0.wp.com\/acousticguitar.com\/wp-content\/uploads\/2022\/03\/maybelle-carter-Pickin-and-Singin.jpg?fit=750%2C741&ssl=1","authors":[{"term_id":1608,"user_id":0,"is_guest":1,"slug":"cameron-knowler","display_name":"Cameron Knowler","avatar_url":{"url":"https:\/\/acousticguitar.com\/wp-content\/uploads\/2015\/11\/Cameron-Knowler.jpg","url2x":"https:\/\/acousticguitar.com\/wp-content\/uploads\/2015\/11\/Cameron-Knowler.jpg"},"user_url":"http:\/\/cameronknowler.com\/","last_name":"Knowler","first_name":"Cameron","description":"Author of the method book <i>Guitars Have Feelings Too<\/i>, Cameron Knowler is a multi-instrumentalist and educator specializing in jazz, bluegrass, and old-time music."}],"_links":{"self":[{"href":"https:\/\/acousticguitar.com\/wp-json\/wp\/v2\/posts\/129155"}],"collection":[{"href":"https:\/\/acousticguitar.com\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/acousticguitar.com\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/acousticguitar.com\/wp-json\/wp\/v2\/users\/5"}],"replies":[{"embeddable":true,"href":"https:\/\/acousticguitar.com\/wp-json\/wp\/v2\/comments?post=129155"}],"version-history":[{"count":5,"href":"https:\/\/acousticguitar.com\/wp-json\/wp\/v2\/posts\/129155\/revisions"}],"predecessor-version":[{"id":138295,"href":"https:\/\/acousticguitar.com\/wp-json\/wp\/v2\/posts\/129155\/revisions\/138295"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/acousticguitar.com\/wp-json\/wp\/v2\/media\/129166"}],"wp:attachment":[{"href":"https:\/\/acousticguitar.com\/wp-json\/wp\/v2\/media?parent=129155"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/acousticguitar.com\/wp-json\/wp\/v2\/categories?post=129155"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/acousticguitar.com\/wp-json\/wp\/v2\/tags?post=129155"},{"taxonomy":"author","embeddable":true,"href":"https:\/\/acousticguitar.com\/wp-json\/wp\/v2\/ppma_author?post=129155"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}