Foundations of

Flatpicking
Country Guitar
taught by
Eric Thompson
CONTENTS

Understanding The Tablature ................................................. 2

Wildwood Flower...................................................................... 4
Will The Circle Be Unbroken .................................................. 6
Sad And Lonesome Day ............................................................ 7
Red Rocking Chair .................................................................... 8
Arkansas Traveler .................................................................... 9
Billy In The Lowground ......................................................... 11
Leather Britches ...................................................................... 12
Temperance Reel ..................................................................... 14
Country Boy Rock And Roll .................................................. 16
Muddy Roads ............................................................................ 18
The Crawdad Song .................................................................. 20

CD Track listings .................................................................... 22

 UNDERSTANDING THE TABLATURE
The tablature system is easy to understand and is a concise way of notating a lot of information. Though
tablature is often given in a stand-alone format, in this book it is coupled with the regular music notation
of the tunes. For the purposes of this explanation, only the tab is shown.
The six lines of the staff represent the six strings of the guitar, top (high string) to bottom (low).
1
2
3
4
Ô
5
6

The numbers indicate the fret at which the desired note will be found. A zero means that the string
is to be played open (not fretted). The rhythm of the tunes is notated by a system adapted from standard
music. Time, except on the jigs, is divided by vertical lines into measures (“bars”) of four beats (4/4 time).
One beat, a quarter note, is indicated by a straight line (stem) extending from the number of the note.
An eighth note is half that long, half a beat, for which a flag is added to the stem.

Ô 1 0 3
2 J
3

Most fiddle tunes are strings of eighth notes, which are tied together in groups of two and four.

3 1 0 3 1 0 1 1 3 0 1 3 0
3
Ô

A dotted quarter or half note (they appear identical in the tablature) os one-and-a-half times the length
of the quarter or half note respectively. A rest, or pause in the string of notes, uses the music symbols
for rests. An eighth, a quarter, and a half note rest are shown here.

Ô 1 2 3 0
2
. J
3 ‰ Œ Ó

A double bar line defines the beginning and end of a part of the tune. Double dots before the double
bar mean repeat — go back until you find a double bar with double dots after, and play through again.
(The opening repeat symbol is often omitted at the beginning of the tune. If you go back and there is
no beginning repeat barline, start again from the top.)

Ô . .
. .
2
 When there are two endings to a part, skip the first and go right on to the second when you play the
repeat. (In this book, these endings are shown above the music rather than in the tab).

1. 2.

Ô .. 1
2 0 2
3
0 2
0 1
2 0
2
Π.
.
1
2
0
2
3
Œ
3

≥ ≤ ≥ ≤ ≥ ≤ ≥ ≤ ≥ ≤ ≥ ≤ ≥ ≥ ≤ ≥ ≤ ≥

Pick direction is indicated by the symbol ≥ for a downstroke, and ≤for an upstroke.
Chords are given for most tunes; here, these are the letters above the music staff.

Notes that are phased together are joined with a curved line (a slur):

Notes may be slurred together with a HAMMER-ON (H), PULL-OFF (P), or SLIDE (S).

A little arrowi indicates a bent string. Sometimes a number in parentheses indicates how much the
note is bent. E.g., 4(5) would mean you would play at the 4th fret, and bend the note up to the pitch it
would sound if you fretted at the 5th fret.

Occasionally, the same note is carried over (sustained) into another measure or into the next half of
the measure. In this case the note is “tied” over. A tie is indicated by a slur with no other symbol above
it.

Sometimes a strum or brush of a chord may be indicated by a big arrow across the staff.

Ô t 2 t
3

And so, you’re off and running — Good luck and have fun.
Eric Thompson

3
 WILDWOOD FLOWER
C G‡ C

& 44 œ œ œ Û œ œ œ Û œ œ œ
Û œ
œ
Û Û
œ œ

1
Ô 2 3
0
t 2
2 t 3 2 0 t 2 0 t t
3
3

G‡ C

& Û
œ œ œ Û œ œ œ
Û œ
œ œ
Û
œ œ
Û Û
œ œ œ

1
Ô t 2 3
0
t 2
2 t 3 2 0 t 2 0 t t
3 3
3

F
œ œ œ œ
& Û œ œ œ œ Û œ Û œ Û œ œ
œ

0 0
1 1 3 1 1
Ô t 0 0
t 0
t 2
t 2
3

C G‡ C

& œ Û œ œ œ Û œ Û œ œ Œ œ œ Û œ œ œ
Û Û
œ
Œ
œ

Ô 0
t t t 0 Œ t t t Œ
0 2 2 2 2 0 2 0
3 3 3
3

4
WITH HAMMERS AND PULL-OFFS
C G‡ C

& 44 œ œ œ Û œ œ œ œ œ
Û
œ œ œ œ
Û
œ œ œ
Û Û
œ œ
H H H P

1
Ô 2 3
0
t 0 2
0 2 t 2 3 2 0 t 2 0
2 3
t t
3

G‡ C

& Û
œ œ œ Û œœ œ œ œ
Û
œœ œ œ
Û
œœ œ
Û Û
œ œ œ
H H H P

1
Ô 3
t 2 3
0
t 0 2
0 2 t 2 3 2 0 t 2 0
2 3
t t 3

F C
Û œ œ œ œ œ œ œœ
& œ œ œ Û œ Û œ œÛ œ Û
œ œ œ
H P
0 0
1 1 3 1 3 1
Ô 3
t 0 0
t 0
t 0 2
t 2 0
t 3
0

G‡ C

& œ œ Û œ œ Û œ œ œ
Œ
œ œ
Û
œ œ œ
Û Û Œ
œ œ œ
H H H P

Ô 0 2 t 0 2 t 0 2
0 Œ 2 0 t 2 0 t t Œ
2 3 3
3

5
 WILL THE CIRCLE BE UNBROKEN
C

& 44 Û Û Û
œ œ œ
Û
œ œ
Û
œ œ œ œ œ œ œ œ œ
H H H H H

Ô t t t 0 2 0 t 0 2 t
0 0 3 0 3 3 0 3
3

F C

& œ Û Û Û Û Û Û
œ œ œ œ œ œ œ œ œ œ œ
H H

Ô 2 t 0 2 0 t 0 t t t t
0 3 3 3 0 3
3

& Û Û Û Û Û Û
œ œ œ œ œ œ œ œ œ œ œ œ œ
H H H

Ô t t t t 0 2
0 0
t 0 2 t
0 0 3 3 3
3 3

G‡ C

& œ Û Û Û Û Œ Ó
œ œ œ œ œ œ œ œ œ œ
H P

Ô t t t t Œ Ó
2 0 0 2 2 0 0 0
3 3 3

6
 SAD AND LONESOME DAY
Capo 2
C G‡ C

& 44 œ œ Û œ œ œ œ œ œ œ Û Û Û œ Û
œ œ œ œ
H P P

Ô 0 2 t 2 0
0
3 2 0 t t t 2 t
3 2 3 3
3

F C

& œ Û Û Û Û œ œ œ Û Û Û Û œ œ Û œ œ Û Û
œ
Û
œ
H H

1
Ô 3 tyty 0 2
tyty 2 0
t 0 2 t t 2 t
3

F C

& œ Û Û Û Û œ œ œ Û Û Û Û œ œ Û œ œ Û Û
œ
Û
œ
H H

1
Ô 3 tyty 0 2
tyty 2 0
t 0 2 t t 2 t
3

G‡ C

& œ œ œ œ œ œ œ œ œ œ œ Û Û Œ Ó
œ œ œ
H P P

Ô 0 0
t t Œ Ó
0 2 2 0 3 2 0
3 2 3 3
3

7
 RED ROCKING CHAIR

#### 4 E G E

& 4 œ Û nœ œ nœ Û œ Û œ nœ œ Û Û
œ nœ œ
œ
P

Ô 2 t 0 2
0
t 0
t 2 0 t t
2 0 2
3 0

#### G
Û
E
Û Û Û Û
&
œ nœ œ œ œ nœ œ œ nœ œ œ œ œ
H P

Ô t 0 t t t t
0 2 2 0 2 2
0 3 3 3 0 0

#### G
Û
E
Û Û Û Û
&
œ œ nœ œ œ nœ œ œ
œ nœ œ œ œ
H P

Ô t 0 t t t t
0 2 2 0 2 2
0 3 3 3 0 0

8
 ARKANSAS TRAVELER
Capo 2
C G

& 44 .. œ œ
Û Û Û
œ œ œ œ œ œ œ œ œ œ œ
œ œ œ œ œ œ
œAå

Ô .
.3 2 0
3 0
t t 3
t 0 0 2 2 0 2 0
3 2 0 2
3 3

C
Û Û Û œ œ œ œ œ œ œ .
&
œ œ œ œ œ œ œ œ œ œ œ Û .
œ œ

Ô 1 3 1 .
3
2 0
3 0
t t 3
t 2 0 2 0
3 2
3
0
2 3
t .
3

œ œ œ œ Gœ œ œ œ Cœ œ œ œ Gœ
C C
œ œ œ œ œ œ œ
C
œ
G
œ œ œ œ œ
G

& .. Œ
œBå
.
Ô .
3 1 0 3 1 0
3
1 0
3 1
0
3 Π1 0 1 3
0 1 3 1 0
1 3
0 1

œ œ œ œ Gœ œ œ œ Cœ œ œ Gœ
C C G C
œ Œ œ œ œ œ œ œ œ œ .
& œ œ œ œ œ Œ .

ΠΠ.
3 1 0 3 1 0 1 0 0
3 3 1 3 1 0 1 1
Ô 0 2 0
3 2 0 .
3 2 3

9
VARIATIONS

& œ œ œ œ œ œ œ œ œ œ œ Œ
œ œ
œ1å ≥ ≤ ≥ ≤ ≥ ≤ ≥ ≤ ≥ ≤ ≥ ≤ ≥

Ô 1
2 0
1
2 0 0 Œ
2 3 2 0
2 3

œ œ œ œ œ œ œ œ œ œ œ œ œ
& Œ
œ2å ≥ ≤ ≥ ≥ ≤ ≥ ≥ ≤ ≥ ≤ ≥ ≤ ≥
Œ
0 1 3 0 3 1 1 0 0
3 3 1 3
Ô

œ œ #œ œ œ œ œ œ œ œ œ œ œ œ œ œ Œ
& J
œ3å ≤ ≥ ≤ ≥ ≤ ≥ ≤ ≥ ≤ ≥ ≤ ≥ ≤ ≥ ≤ ≥

Ô J
0 1 2 3 1 0 3 1 0
3
1 0
3 1
0
3 Œ

10
 BILLY IN THE LOWGROUND

œœœ
C Am
œ
& 44 ..
œ œ œ œ œ œ œ œ œ œ œ
œœ œ œœœœœ œ œ œ œ
œœ œœœ
≥ ≤ ≥ ≤ ≥ ≥ ≤ ≤ ≥ ≤ ≥
S

Ô . 0 1 0 1 3 1 0 1 3 5
3
5 3 1

3 0
. 0 3
0 2
0 2 2 0 2 4 2 0
2
0 2

C Am G C

& œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ..
œ œ œ œ œ œ
≥ ≥
Ô 0 1 0 1 3 1 1 .
3 2 3
0 2
0 2 2 0 2 4 2 0
2
0 2 0 0 2 0
2 0
3
.

œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
C F
œ œ œ œ œ œ œ œ œ œ œ œ
& .. œ œ œ

≥ ≥ ≤ ≥
.
Ô .
3 0 3 5 3 0
1 3
0 3 5 3 0
3 1 0
2
5 3 5 7 5 3 0 3 5 3 0
3 1

œ œ Jœ œ œ œ œ œ œ œ œ œ œ œ
C Am G C

& J œ œ œ œ œ œ œ œ œ œ œ œ œ œ ..
œ
≥ ≤ ≤ ≥ ≥

Ô J
0 3
J
5 3 0
1 3
0 3 5 3 0
3 1 1 .
2 4 2 0
2
0 2 0 0 2 0
2 0
3
.

11
 LEATHER BRITCHES

#
& 44 œ œ ..
œ œ œ
œ œ œ
œ œ œ
œ œ œ
œ œ œ
œ œ œ
œAå ≥ ≤ ≥ ≤ ≥ ≤ ≥ ≥ ≥ ≤ ≥ ≤ ≥ ≥

Ô .
0
2 .0 2
0 4 2 4
0 2
0 4 2 4
0 2
0 4 2 4

# œ œ œ œ œ œ
& œ œ œ œ œj œ . œ œ œ œ œ œ œ
≥ ≤ ≥ ≤ ≥ ≤

Ô 0 4 2 4 0 4 2 0

J 3.
0 2 0 0 2 0 2 2
3 2

j
# œ œ œ œ œ œœ .. œœ œœ œ œ
& œ œ œ œ œ œ œ œ œ. .. .. # œ J
œ J
≥ ≤ ≥ ≤ ≥ ≤ œBå S
..
Ô 1 3 1 0 1 0
J 0. . .J 2 3
2 3
3
J
3
3
3
0 2
2 0
4 2 0 4
2
. .

# œ œ œ œ œ œ œ #œ
j
œ œœ .. œœ œœ œ œ œ œ œ
nœ œ œ.
& J J
≥ ≤ ≥ ≤ ≥ ≤
S

3.
.
J 0.
3 5 3 2 0 2 3 2 3 3 0 2 3 0
Ô J
2 3 3
J 3 3 1 0

12
 # j
œ œœ .. œœ œœ œ œ œ œ œ œ œ œ œ œ œ œ œ
& #œ
J œ œ œ œ
œ
≥ ≤ ≥ ≥ ≤
2 3
S
.. 3 3 0 2 3 2 3 5 3 2 0 2 3 0
Ô J
2 3
J
3 3 3 1 0
2 0
2

# œ j ..
& œ œ.
œ œ œ
≥ ≤ ≥ ≤ ≥ ≤

Ô 0 . .
0 2
0
J
2 0
.

13
 TEMPERANCE REEL
G
# œ œ œ œ œ œ œ œ
& 44 œ œ œ .. œ œ œ œ œ œ œ
≥ ≥ ≥ œAå ≥ ≥ ≤

Ô .0 0 1 3 0
0
0 3 0 1
0 2 4 . 0
4
0 2 2

Em G
# œ
& œ œ œ œ œ œ œ
œ œ œ œ œ œ
œ œ œ œ œ œ œ œ œ
≥ ≥ ≤
0 0 1
Ô 2 2 0 2 4
0 2 4 0 2
4
0
4 2 0
0 0
4
0 2

Em D G
# œ œ œ œ œ œ
& œ œ œ
œ œ œ œ œ œ œ
œ œ œ œ œ Œ ..
≥
Π.
0
3 0 0 3 0 1 0
Ô 2
2 2 0 2 4
0 2 4 0 2
4
0
.

# . œ
Em
œ œ œ œ œ œ œ œ œ œ œ D

& . Jœ J œ œ œ œ #œ œ œ œ

œBå ≥ ≤ ≤ ≥ ≥ ≤ ≥ ≥ ≤

Ô .. 0J J
0 2 0 0 2 3 0 5 2 3 2 0
3 3 3 2 3 3 2
2

14
 # œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
Em

&
≥ ≥ ≤
2 5 2 3 2 0 0 0 0 0 2 3 0 5 2 3 2 0
3 3 0 3 3
Ô

G D G
# œ œ œ œ œ œ Œ ..
& œ œ œ œ œ œ œ
≥

Ô 0 Œ .
2 2 0 2 4
0 2 4 0 2
4
0
.

15
 COUNTRY BOY ROCK AND ROLL
Capo 7
# G

& 44 œ œ œ œ œ nœ œ œ œ œ œ
œ œ #œ œ #œ œ œ œ #œ œ œ

Ô 0 2 0
0
2 3 0 2 0 0 2 0
0 1 2 1 2 0 1 2
3 3

# œ œ œ œ nœ œ œ
& œ Œ Œ œ bœ œ œ œ nœ œ œ œ
#œ œ

Œ Œ
3 3 3 1 0
3 3 0
Ô 0 3 2 0
2 3 0 2 0
1 2

#
C

& œ œ nœ œ œ œ œ œ
œ œ #œ œ œ œ œ #œ œ œ œ #œ œ œ

Ô 0 2 0
0
2 3 0 2 0 0 1 2
0 2 0
0 1 2 1 2 3
3

G
# œ nœ bœ œ
& bœ œ œ #œ œ œ nœ œ œ œ œ œ œ œ
#œ œ œ œ œ
S

2 3 0
Ô 3 2 0 3 2 0
2 3 0 2 0 0 2 0
1 2 0 2 2
3

16
 # D
œ œ œ œ œ œ œ œ œ œ œ œ bœ œ nœ
C
œ œ
& œ œ nœ #œ œ

0 3 0 3 0 3 6 3
3 3 3 3 6
Ô 0 2 3 4
2 4 2 2 4

# Dœ n œ œ œ œ œ G

& #œ œ œ œ nœ œ œ œ Œ Ó
#œ œ œ

Ô 3 6 3 6 3
5 3 4 0 Œ Ó
2 3 0 2 0
1 2
3

17
 MUDDY ROADS
Capo 2
G Em G Em G Em A D
## 4 œ œ œ œ œ œ
& 4 œ œ œ œœ
œ œ
œ œ œ œ œ œœ œ œ œ œœ
œ œ œ œ œ œ œœ
œ
œAå
3 3 3 3 3 2
0 0 0 0 0 0 3
Ô 0 0
2
0 0 2 0
2 0
0 0 0
2
0 2 4 2 0
4 0
2

G Em G Em G Em A D
## œ œ œ œ n œ œœ
& œ œ œ œœ
œ œ œ œ œ œ œ œœ œ
œ œ œ œ œ œ œ œ œ œ œ

3 3 3 3 2
0 0 0 0 0 0 1 0 3
Ô 0 0
2
0 0 2 0
2 0
0 0 0
2
2 2 0
4 0
2

D A D
## . œ
Œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œœ .
& . J œ. œ œ œ .
œBå ≥ ≤

Ô .2 Œ 3
0 2 3 2 0
3 2
J 2. 2 2 0 0 2 3 0
2
3 .
. 2 2 0
4 0
2
.

18
LOW OCTAVE VARIATION
G Em G Em G Em A D
# œ œ œ œ œ
& # œœ œœ œœ œœ œ œ œ œ œ œ œœ
œ
œ œ œ œ œ œ œ œ œ œ
œAå
3 3 3 3 2
0 0 0 0 3
Ô 0 0 0 0 2 4 2 0
4 0
2
2 0
3 0 0 2 3 3 0 3 0

G Em G Em G Em A D
## œ œ œ œ
& œœ œœ œœ œ œ n œ œ œ œ œ œ œœ
œ œ œ œ œ œ œ œ œ œ œ
3 3 3 2
0 0 0 0 1 0 3
Ô 0 0 0 2 2 0
4 0
2
2 0
3 0 0 2 3 3 0 3 0

D A D
# # . œœ œ œ œ œ œ œ œœœ ..
& . œ œ œ œ œ œ œ œ œ œ œœœ œœ
œ œ œ
œ
œ
œ
œBå ≥ ≤
Ô . 2
3 2 2 0 2 3 0
2
3 .
.4 2
0 2 4
0
4 2 0
4 0
2
2
4
2
2
0
2 0
4 0
2
.

19
 THE CRAWDAD SONG
Capo 4
C
œœ œœ œœ œœ œœ œœ
& 44 œœ œœ œ œ œ œ œ œœ œœ œœ œœ
œ œ œ œ œ œ œ œ œ œ œ œ
H H H H
0 0 0 0 0 0
1 1 1 1 1 1
Ô 0
2
0
2 0 2 0
0
2
0
2
0
2
0
2
0 3 0 3 3 0 0 3 0 3 0 3
3 3

G‡
œ œ œ œ œ œ œ œ œ œ
& j
œ œ
œ Œ œ œ œ œ œ œ œ œ œ œ œ œ
≥ ≤ ≤ ≥ ≤ ≤ ≥
H

Ô 0 Œ 1
2 0
1
2 0
0
0
1
0
3 3
0
3
0
0 2
J 2 2 3 3 3 3 3

* C
œ
F
œ œ
& œj œ œ œ œœœ œ œ œ œ œ œ
œ
bœ
bœ œ œ œ œ œ œ œ œ œ œ nœ
H P S S
0 3 0
1 1 1
Ô 0 0 0 2 0 2 0 3
0 2
J 2 2 1 0
3
1 0
3 0
3 5 5 3 2

œ œ œ
C G‡
œ œ
C
œ #œ œ œ
#œ œ œ œ œ œ Œ
& œ œ œ œ œ œ œ #œ œ œ bœ nœ
œ œ
S H P

Œ
5 0 0 3 3 0 0
4 1 4 1 1 1
Ô 2 0
2
0 2 4 2 0
1 2
0
1 0 2
0
3

20
VARIATION at * (meas. 8–12)
* C
œ œ œ œ F
œ œ œ œ œ œ œ
& j
œ œ œ œ œ œ bœ œ œ œ œ œ œ œ œ œ œ œ
etc.
S S
3 0
5 5 8 8 6 6 6 6 6
Ô 0 0 0 0 0 0 0
3 5
J 5 5 8 8 8 7 7 7 7

21
 CD Track Listings
The audio lessons in this series were originally recorded in the 1970s. They were initially released on audio cassettes. We have gone back to our master tapes
to get the best possible sound for this new CD edition. The complete contents of the original recordings have been maintained but certain references to albums
that are no longer available or information that is out of date have been edited out .
These lessons originally came with different print material. These were handwritten and in some cases offered only tab transcriptions. The lessons have now
been typeset in tab/music. As a result some spoken references on the CDs regarding page numbers or a position of a line or phrase on a page may differ slightly
from the written tab/music in this new edition. We have annotated as carefully and exactly as possible what each track on the CDs present. Please use these track
descriptions as your reference guide.

Lesson One
Track 1: Tuning Track 18: Teaching of fourth line of Will The Circle Be Unbroken
Track 2: Performance of Wildwood Flower Track 19: Plays Will The Circle Be Unbroken
Track 3: Discussion of origins of Wildwood Flower Track 20: Hammer-ons and strum exercises
Track 4: Teaching of Country rhythm guitar strumming Track 21: Teaching of different strumming patterns
Track 5: Plays melody and then melody with chords of Wildwood Flower Track 22: Performance of Sad and Lonesome Day
Track 6: Teaching of first nine bars of Wildwood Flower Track 23: Discussion of Will The Circle Be Unbroken
Track 7: Plays first nine bars of Wildwood Flower Track 24: Plays Will The Circle Be Unbroken
Track 8: Teaching of next nine bars of Wildwood Flower Track 25: Teaching of first line of Will The Circle Be Unbroken
Track 9: Plays Wildwood Flower Track 26: Teaching of second and third lines of Will The Circle Be Unbroken
Track 10: Discussion on using hammer-ons, pull-offs Track 27: Teaching of fourth line of Will The Circle Be Unbroken
and varying your strumming for Wildwood Flower Track 28: Plays Will The Circle Be Unbroken
Track 11: Teaching Wildwood Flower using hammer-ons and pull-offs Track 29: Performance of Red Rocking Chair
Track 12: Plays Wildwood Flower using hammer-ons and pull-offs Track 30: Discussion of Red Rocking Chair
Track 13: Performance of Will The Circle Be Unbroken Track 31: Teaching of Red Rocking Chair
Track 14: Teaching of chords used in Will The Circle Be Unbroken Track 32: Plays slowly Red Rocking Chair
Track 15: Teaching of first line of Will The Circle Be Unbroken Track 33: Review of lesson and discussion of making your own arrangements
Track 16: Teaching of second line of Will The Circle Be Unbroken
Track 17: Teaching of third line of Will The Circle Be Unbroken

Lesson Two
Track 1: Tuning Track 15: Plays Billy In the Lowgrounds
Track 2: Teaching of basic flatpicking techniques Track 16: Closing thoughts on Billy In the Lowgrounds
Track 3: Teaching a flatpicking exercise Track 17: Performance of Leather Britches
Track 4: Teaching of another flatpicking exercise Track 18: Teaching of A Section of Leather Britches
Track 5: Performance of Arkansas Traveler Track 19: Plays A Section of Leather Britches
Track 6: Teaching of A Section of Arkansas Traveler Track 20: Teaching of B Section of Leather Britches
Track 7: Plays A Section of Arkansas Traveler Track 21: Plays B Section of Leather Britches
Track 8: Teaching of B Section of Arkansas Traveler Track 22: Plays Leather Britches with variations
Track 9: Teaching of variations for Arkansas Traveler Track 23: Performance of Temperance Reel
Track 10: Plays Arkansas Traveler with variations Track 24: Teaching of A Section of Temperance Reel
Track 11: Performance of Billy In the Lowgrounds Track 25: Plays A Section of Temperance Reel
Track 12: Teaching of A Section of Billy In the Lowgrounds Track 26: Teaching of B Section of Temperance Reel
Track 13: Plays A Section of Billy In the Lowgrounds Track 27: Plays Temperance Reel
Track 14: Teaching of B Section of Billy In the Lowgrounds Track 28: Teaching of variations for Temperance Reel

Lesson Three
Track 1: Tuning Track 12: Plays melody of Muddy Roads
Track 2: Performance of Country Boy Rock and Roll Track 13: Teaching of first to eighth bar of Muddy Roads
Track 3: Teaching of first run (first to fourth bars) Track 14: Plays first to eighth bar of Muddy Roads
of Country Boy Rock and Roll Track 15: Teaching of ninth to twelfth bar of Muddy Roads
Track 4: Plays first run of Country Boy Rock and Roll Track 16: Plays ninth to twelfth bar of Muddy Roads
Track 5: Teaching of second run (fourth to eighth bars) Track 17: Teaching parts of melody played an octave lower of Muddy Roads
of Country Boy Rock and Roll Track 18: Plays Muddy Roads
Track 6: Teaching of ninth to twelfth bar of Country Boy Rock and Roll Track 19: Performance of The Crawdad Song
Track 7: Plays ninth to twelfth bar of Country Boy Rock and Roll Track 20: Teaching first to eighth bar of The Crawdad Song
Track 8: Teaching of thirteenth to seventeenth bar Track 21: Teaching of ninth to sixteenth bar of The Crawdad Song
of Country Boy Rock and Roll Track 22: Plays The Crawdad Song
Track 9: Plays Country Boy Rock and Roll Track 23: Teaching of variations for The Crawdad Song
Track 10: Plays melody slowly of Country Boy Rock and Roll Track 24: Plays The Crawdad Song with variations
Track 11: Performance of Muddy Roads

22