“Red Haired Boy” stands as a beloved traditional tune among bluegrass enthusiasts, and its appeal is undeniable. The melody is instantly engaging and a joy to play, while its droning B-part offers fertile ground for improvisational exploration. Its modal Mixolydian tonality injects a vibrant, rocking feel. Frequently heard in jam sessions, concerts, and recordings, the tune recently graced Jamie Stillway and Eric Skye’s guitar duo album, Over the Waterfall, a testament to its enduring charm.
Stillway and Skye, with their jazz and improvisation backgrounds, might not strictly identify as bluegrass musicians. However, their appreciation for fiddle tunes, the bedrock of much bluegrass material, shines through as they reinterpret them with their distinctive style. Imagine the rich, resonant tones of this melody echoing from a Red Acoustic Guitar, its vibrant color mirroring the tune’s spirited nature.
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On Over the Waterfall, many tracks are familiar favorites, yet Stillway and Skye present them with a deliberate pace, a departure from the rapid-fire virtuosity often associated with bluegrass. Their approach is about savoring the journey, not just reaching the destination. They typically begin each track by stating the core melody, and with each repetition, they venture deeper into expansive improvisational landscapes, culminating in what Stillway describes as “free skate”—a realm of simultaneous, responsive improvisation. This unstructured improvisation might be considered unconventional in a traditional bluegrass jam setting, but for Stillway and Skye, it becomes a vehicle for showcasing their boundless creativity. The slower tempo also allows the rich sonic textures of their instruments to harmonize and resonate, creating a captivating listening experience.
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The musical notation presented by Stillway for “Red Haired Boy” provides an excellent entry point for learning this tune. Whether you aim to capture the spacious, improvisational spirit of Stillway and Skye or engage in a lively, fast-paced session with banjos and fiddles, her rendition is invaluable. In their album recording, Stillway concludes her initial melody pass with a scalar improvisation, but for learning clarity, this transcription focuses on presenting the complete melody.
A defining characteristic of Stillway’s playing is the seamless fluidity she achieves between notes. To emulate this, prioritize allowing notes to ring out for their full duration. For instance, when transitioning between strings, let the note on the previous string sustain as you play the next. Similarly, when staying on the same string, allow each note to ring until the subsequent note is picked. Mastering this technique requires practice and may initially sound unconventional, but when executed effectively, it breathes life into melodic passages. This ringing sustain can be particularly enhanced by the warm tones often associated with a red acoustic guitar, adding depth and resonance to each note.
Regarding right-hand technique, alternate picking is key. This involves synchronizing downstrokes with the downbeats of each measure and upstrokes with the off-beats (“ands”), as indicated in the notation. This picking style is fundamental for flatpickers and effectively replicates the buoyant rhythmic pulse of a fiddle, perfectly suited to bring “Red Haired Boy” to life on your red acoustic guitar.
This article originally appeared in the November/December 2023 issue of Acoustic Guitar magazine.
