The title is called 'Anji' written by Davey Graham in London. The exact time I don't know. Must be between 1960 - 1962. In Hong Kong, I think the only version our folkies would know is the version in the record of Simon & garfunkel 'The Sound of Silence'.

My playing is influenced mostly by the playing of Bert Jansch ( A Scottish acoustic guitarist) and John Renbourn (He is my idol and my friend. An English accoustic guitarist. I play totally differently from him. These days he plays with either a Franklin OM or a Ralph Bown OM with very thin neck and light strings 0.010. Therefore he is very fast. I played both of his guitars but they were too light for me) I do a slightly different feeling and add slightly different stuf depending on my mood during play. The beginning of the decending base I suddenly threw in on the day I recorded in the studio.

Here I give you the website of Davey Graham. Oh! He is a good friend of John Renbourn too.

http://www.daveygraham.org/biography.htm

If you think it's too long to read, I quote you how the tune was made: -

＜＜John Pilgrim＞＞

I had temporarily lost track of him at this time. Then one night I took my rather respectable girl friend Marged (a classics teacher) to a rundown basement coffee house called the Gyre and Gimble. We found Davey sleeping under the counter. With him was one of Marged's students, a girl called Angela, usually known as Angie. It could have been embarrassing but with his usual enthusiasm and elan Davey picked up his guitar and played us the tune he'd put together and was naming for her. It became world famous as Angi.

He recorded Angi for Topic. It was part of an EP with Alexis Korner but it was Angi that made people take notice. That compulsive tune became the permanent background sound at parties as guitarists struggled with its contrapuntal opening and later with the near impossible key that the publisher had decided was correct. Apparently the pianist/arranger hadn't realised that Davey capoed at the third fret and had set guitarists a near impossible task.

（中譯本由Lydia提供）這隻由Davey Graham在倫敦所作的’Anji’，我不能確定這首曲的出版日期，但應該介乎於1960年至1962年之間。 在香港,我相信我們這班民歌友唯一熟識的作品就應該是Simon & Garfunkel其中一隻大碟收錄的’The Sound of Silence’了。

我的演奏深受Bert Jansch (一個蘇格蘭acoustic他手)及John Renbourn的影響(我的偶像及好友,一個英國accoustic結他手,但我的演奏完全有別於他. 他現在慣常用的兩支結他不是Franklin OM便是Ralpn Bown OM,琴頸非常薄而且用幼弦，張力只有0.010，所以他彈得比較快。 我曾經用過他這兩支結他彈奏，但對我而言，弦太幼了)。 當我演繹此曲時,我有少少不同的感受,而亦根據我當時的情緒而加入了少少不同的補充，開始時幾個由高音至低音的 Bass 是我突然即興加上去的。

在此我寫出Davey Graham的網址. 噢,他亦是John Renbourn的好朋友。


Enjoy & Happy Chinese New Year!

Rod Foo
23/1/2004 (Fri) 11:14

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這是一首十七世紀中的愛爾蘭音樂。我嘗試學John Renbourn 的Guitar版本。調音是用 G Minor 即是DGDGBbD。當然未能有他十份之一好。各位請見諒。

有關John Renbourn 詳細資料，可參考如下綱址：

http://www.john-renbourn.com

以下有些少他的 ’格林美’ 失敗的資料

Before 1980

We were taped playing at the Great American Music Hall in San Francisco and the recording "Live In America" earned us a Grammy nomination in the Folk Music category. We were pipped at the post by Queen Ida but we all felt that was fair enough

Between 1987 - 1990

One collaboration that was recorded live, at virtually our first public performance, was with Robin Williamson whom I had known from the early days before the Incredible String Band and the Pentangle took to the road. The 'Impenetrable Stringtangle' seemed like an appropriate name but the CD got called "Wheel Of Fortune" and earned another Grammy nomination, this time losing it to Bob Dylan. I am thinking of calling my next band 'JR and the Grammy Losers'.

以下是 這音樂的資料：

In the Irish tradition a lament without words is called a “cumha.” Such a one is “Cumha Eoghain Rua Ui Neill,” which translates as Lament for Owen Roe O’Neil. Turlough O’Carolan wrote this “cumha” for Owen Roe (red-haired Owen) O’Neil, the nephew of the great Earl of Tyrone. It was O’Neil who led the Irish to victory over General Monroe’s Anglo-Scottish army at Benburb in 1646. His death three years later marked the end of the Irish hope of defeating Cromwell. Neal Hellman learned this version from the group Clannad, and couples it here with the beautiful Irish air, Foggy Dew, which he learned from Kim Robertson.

Rod Foo
23/1/2004 (Fri) 23:39

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這首歌是 Bert Jansch在大概1964年所作。可以在他1965年出第一隻黑膠碟聽到。

我在 60 年代尾自己學彈 guitar 的旿時候是沒有人教的。只好自己根據自己的想法及能力去彈及唱 (一笑)。但被這歌的 bluesy feel 吸引，於是便唱了這似 Bert Jansch 的版本出來。

Bert Jansch 資料可在以下綱址找到:

http://www.bertjansch.com/

Enjoy!

Rod Foo
24/1/2004 (Sat) 9:41

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這首 Guitar 音樂出自 Pete Seeger. 可以在 ‘Pete Seeger’s Greatest Hits 2002’ 的CD 聽到。他自己作了這首後己覺得不可能再作出任何比這首更好的 Guitar 音樂了。以下是他所說的話:

By Pete Seeger.
© 1962, 1963 Fall River Music Inc.

Pete Seeger - 12-string guitar, whistling

I learned it from my sister forty years ago in 1956. She got it out of a book by Lydia Parish called "Songs of the Georgia Sea Islands". I was fooling around on the guitar in the D tuning (6th string down one whole tone). I started with another song, "Pay Me My Money Down", and gradually improvised a new tune off of it. I may never compose a better piece of guitar music (I'd like to but I probably won't.)
"Music in some strange, mystical way brings people together, in spite of our problems. I have the feeling that music is going to be able to do something that prose and pictures haven't been able to do."

About the Author - Pete Seeger

http://home.earthlink.net/~jimcapaldi/

Pete Seeger, a Grammy Award winner as well as the recipient of the N.E.A. National Medal of Arts and Kennedy Center Honors, has spent sixty years singing in peace rallies and civil rights marches, at schools and camps, and for unions. His internationally recognized songs include, "Where Have All the Flowers Gone," "If I Had a Hammer," and "Turn, Turn, Turn." He lives in Beacon, New York, with his wife of over fifty years, Toshi Seeger.

我所聽過的版本有 Leo Kottke 及 Martin Simpson. 當然一定包括原作。都有不同風格。請大家多多指教我的版本。

留心第六線是 ‘D’

Rod Foo
24/1/2004 (Sat) 11:08

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我叫這首做 C Shape Clawhammer 什錦。名如其實，是我隨意把幾首 C Shape 的音樂垪在一起，以下是演奏的順序：-

第一段

Freight Train: 這首是著名黑人女歌手 / 女 Acoustic Guitar 手 Elizabeth Cotton 所作。 她最後的一隻碟, ‘Elizabeth Live’, 灌於1985年就在1973年取得民歌項目的格林美獎 (Grammy for best traditional folk music recording)。 Freight Train這首歌於2005年就滿一百歲喇。 學 Clawhammer 手法的人，十居其十都曾經彈過首音樂。但我從來未聽過近似她彈的guitar聲。我自己亦曾經多次嘗試。總彈不到。 後來才知道她是把一個普通右手用的 Guitar 倒轉過來，用左手彈。即是用拇指彈 melody 用手指彈 bass。

http://www.mudcat.org/cotton.cfm

http://bluesnet.hub.org/waterman/cotton.html

Born: 07 January 1895 in Chapel Hill, NC
Died: 29 June 1987, in Syracuse, NY
Folk, Composer, Performer, Guitar

Elizabeth Cotten was among the most influential guitarists to surface during the roots music revival era, her wonderfully expressive and dexterous finger-picking style a major inspiration to the generations of players who followed in her wake. She won a Grammy Award in the Folk Section when she was 93. Freight train will be 100 years old 2005.

第二段

我暫時忘了這 title. 可能遲些會記起。

第三段

My Grandfather’s Clock: 這是 1870 年美國人Henry Clay 所作。多數是小孩子唱的。請聽及看以下版本及資料

http://www.timegoes.com/mygrandfather.htm

第四段

我亦暫時忘了。記起再寫吧。

第五段

重覆第 2 首。

Enjoy!

Rod Foo
24/1/2004 (Sat) 13:40

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我第一次聽這歌是從 Joan Baez 的第一隻黑膠碟所聽到的。後來聽了很多版本。原來這首歌是 Joan Baez 從 ’The English and Scottish Popular Ballad’ 抽出來。這書是美國 Harvard 大學畢業的 Francis James Child所作，共五集。從 1882年至 1898年間完成。一共有305 首。House Carpenter 是第 243 首。以下是原本的音樂:

http://www.contemplator.com/folk2/carpenter.html

其實，這首歌實際並不是由Child所創作，而是他四處搜羅眾多歌曲並輯印成書。

Joan Baez 從 Child Ballad 中唱過 Henry Martin, Geordie, Barbara Allen, Mattie …. 等。

我是根據聽了 Joan Baez, Pete Seeger 及 Stefan Grossman 後。做了這個版本。彈 guitar 的朋友，可以留心我是把每段 Instrumental，右手都用不同的指法。但全部都基於 Stefan Grossman 的彈法。Guitar 是 Open C-Tuning，即是CGCGCE。

Joan Baez 資料:

http://www.vanguardrecords.com/Baez/Home.html

Pete Seeger: 請參考Track 4 - Living In The Country
Stefan Grossman: John Renbourn 的老友。在美國出很多 guitar 教材。

Enjoy!

Rod Foo
25/1/2004 (Sun) 12:54

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這首音樂原名是 Yazoo Basin Boogie，為美國 Stefan Grossman 多年前所作。我曾經嘗試學，但我實在能力有限，又沒有時間，只好怱怱彈成這樣。唯有在名字加上 Pseudo (即是假的意思)。

一如很多美國 Finger Style, 尤其是 Bluesy 一些的 Guitar手，Stefan Grossman 學自 Reverand Gary Davis，彈法非常有勁，奇怪的是每年四五月在右，彈法非常輕快的 John Renbourn 從英國到美國的時候，往往喜歡找他一起夾彈。他現在最著名的是做 guitar Workshop 及做 Guitar 教材，全部是都 Fingerstyle，大家試試在市面找找。

Reverand Gary Davis(1896-1972) 資料可在以下連結看到: -

http://www.io.com/~tbone1/blues/ECblz/gardav.html

大架留意結他第 6 線是調 ‘D’的!

Enjoy!

Rod Foo
25/1/2004 (Sun) 12:54


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這音樂有很多名；Pigtown, Stoney Point, Wild Horse 及Wild Horse at Stoney Point 等。

我亦是學自 Stefan Grossman。這首愛爾蘭舞蹈音樂上一半是 Major (大調)，下一半是 Minor (小調)。我個人通常都很喜愛這種有轉調的音樂。例如 Romance de A'mour。

另一點我喜歡的地方是它的 Treble 及 Bass 的 Counterpoint。好像 Treble 有一段音樂。Bass 又有自己一小段。

Guitar 的 Tuning 很特別，是 DGDGBE，跟 Open G 差了第一線。

Enjoy!

Rod Foo
25/1/2004 (Sun) 12:54

網主按："聽完Rod哥表演，歡迎在此留言，多謝他慷慨分享音樂啊!"

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多謝Rod哥，他的最新錄音CD五首歌已經於上個星期先聽為快喇，果然不同凡嚮。　剛在Capo的廿周年音樂會聽完他的”拉闊”，耳油未盡，惟有在這個結他討論區向大家續首推介。

By Reverend Gary Davis - An Amazing Guitarist and A Remarkable Person

Keep your lamp trimmed and burning
Keep your lamp
Keep your lamp trimmed
Keep your lamp
Keep your lamp
Keep your lamp trimmed and burning
This old world is almost done

Brother, don't you keep worryin'
Brother, don't you keep worryin'
Brother, don't get worried
For this old world is almost done

Keep your lamp
Keep your lamp
Keep your lamp
Father, don't stop praying
Father, don't stop praying
Father, you just keep on praying
For this old world is almost done
Aww

Father, don't stop preaching
Preacher, don't stop preaching
Preacher, you just keep on-a-preaching
For this old world is almost done

Got my lamp
Got my lamp
Keep your lamp trimmed and burning

其實結他初學者都可以學下彈這首歌，可參考這個網：－
http://www.ericlugosch.com/keep_your_lamp_trimmed.html




Enjoy!

Rod Foo


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1960年代, 民歌可以說是一個Folk Revival. 在英國, 很多Acoustic Guitar手受到美國的影響, 把原來非常簡單的Arpegio手法加上很多Clawhammer, Travis Picking…..等手法, 甚至發展到非常複雜的指法. 這些複雜手法大多都是來自黑人樂手. Davey Graham就在這時在倫敦作了Anji (Angie). 它在英國Acoustic Guitar圈子裡瘋魔一時. 甚至美國都有很多人彈.例如Simon Garfunkel

聽完Anji後, John Renbourn自己亦作了Jndy. 可能是拿來比較. 以下是兩首音樂相似的地方:-

1. 都是用Am Chord Shape
2. 都是用Descending Bass
3. 都是有3個明顯的部份

各位可以作個比較, 但記著在這網上的Anji & Jndy 都是我的版本. 只能有個概念.

Enjoy!

Rod Foo


網主按："聽完Rod哥表演，歡迎在此留言，多謝他慷慨分享音樂啊!"

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Reverand Gary Davis所作, 我覺得Blues怎樣彈及唱都沒有甚麼所謂. 我玩得較為接近John Renbourn的版本, 亦有受到Stefan Grossman影響

這是用C Chord Shape來彈, 我覺得最需要掌握的地方就是第4拍第3線Pull-Off 從A 音Pull 去 G音. 第8拍的第3線沒有Pull-Off 單A音. 加上第一線的主音最能突出這歌的特色.

我所玩出來的效果跟Reverand Gary Davis非常不同是因為

1) Davis右手拇指是用Thumb Pick, 我用自己拇指的肉
2) 他右手只用拇指及第一指. 我習慣用拇指及中指, 第一指及無名指作為幫助 (即是我需要用多些手指.
3) 他用一個很大的Maple 木Gibson Guitar好像是J200. 我喜歡用GC (grand Concert), GA(Grand auditorium)或OM (Orchestral Model) 的guitar.

Davis 更加做了一個難度的版本叫 Two Step Candy Man.我能夠彈多少我的Candy Man 版本己經很滿意了.

以上是John Renbourn 的版本給各位欣賞

Enjoy!

Rod Foo


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我很久以前聽了Big Bill Broonzy的Shuffle Rag. 當時沒有恆心去學.後來忘記了, 最近2~3年我從新練習guitar, 根據記憶後自己造出一個Shuffle的版本.

介紹Big Bill Broonzy的網頁：－
http://www.oafb.net/once141.html

這首亦是C Chord Shape, 我當年記得它最吸引的地方便是把Bass線用手掌肉(拇指下邊的肉)按著令到Bass發不出自己的聲音(Muffle)只能聽到拍拍的聲音代替了Bass聲, 有利之處便是無論你左手按哪個Bass音你都可以配合任何Chord同時不會走音.只好像有一個敲擊的樂器在伴奏

當然中間一定有一些不規則Beat的改變, 否則便會太悶了.

Enjoy!

Rod Foo


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這是Doc Watson的歌, 一首真真正正的民歌, 因為這是他媽媽教他的, 原來是一個很長很長的故事, 他已經減少了很多, 但我還是嫌它太長, 又再減多幾段. 現在剩下這些了.

Doc's Guitar Web Site: -
http://www.docsguitar.com/

這首是Am, 我覺得它簡單的instrumental非常好聽.

這裡 http://www.docwatson.de 有很好的資料和歌詞.有興趣不妨看看.

Enjoy!

Rod Foo


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