QUARTERLY

Inside
Boulevard

by John Knowles

a chance to steal from the best. Chet Atkins, CGP

3

On the Boulevard

Inspiration, repetition
and surprise

The QUARTERLY
An archive of
fingerstyle music
and learning

Chop Talk:

Taking chances

1
2

Browsing the
Archive

A list of previously
published issues
6

Each Issue Includes

Tunes Youll Enjoy
learning and playing

Music with TAB

plus chord diagrams

An Audio CD

with all the tunes

plus practice tips

On the Boulevard
When I begin writing a new tune, I
count on inspiration. Sometimes, a
title will get me going. Or, I stumble
across a lick during noodle time.
Maybe daydreaming will lead me to
a memory or an image. At its best,
inspiration is all of the above.
I remember thumb-picking a Cchord and playing a few notes that
were outside the C-scale. I ended up
with the opening phrase of Boulevard.
(measures 1-4) The feel of that phrase
reminded me of going for a walk
on Music Row with Chet Atkins. I

The QUARTERLY
If youre looking for gig-ready
arrangements that are fun to learn
and play, check out John Knowles
FingerStyle QUARTERLY. Each issue
contains music with TAB, an audio
CD, practice tips and advice on
arranging your own tunes.

_ _

The QUARTERLY reflects Johns

wide-ranging musical passion. It
includes music of players like Chet
Atkins, Jerry Reed, Lenny Breau and
Tommy Emmanuel as well as Johns
arrangements and compositions.
Youll find standards, Christmas
music, classical selections and more.
All previously-published issues of
the QUARTERLY are available so you
can build a complete library.

considered calling the tune Strollin

the Row. That title has great attitude
but Boulevard is more about elegance
and style.
So at this point I had a phrase, a
title and an image. Any more inspiration would have just confused me.
Time to work out the rest of the tune.

_ _

I depend on writing tools Ive

developed over the years. For example, I know that repetition hooks
continued on page 2

A single issue of the QUARTERLY

costs less than a guitar lesson and
gives you music and information you
wont find anywhere else.

Your music and arrangements

are part of my daily life, and
you have inspired and challenged me more through your
work than any other aspect
of my personal or professional
existence. D. J.
Forgive my informality, but you
feel like family to me through
the QUARTERLY. I cannot tell
you how much pleasure your
lessons have given me the past
several years. L. B.

JOHN KNOWLES FINGERSTYLE QUARTERLY WWW.JOHNKNOWLES.COM

PAGE 1

FingerStyle
QUARTERLY

Publisher/Editor
John Knowles
Business Manager
Becky Knowles
Special Thanks to:
Chet Atkins
Jim Alley
Eric Booth
Clyde Kendrick
Kathy Boehm
Contents 2012 John Knowles
All rights reserved
International copyright secured

Order Online:

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Send Payment:

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P.O. Box 120355
Nashville, TN 37212
(615) 662-0577

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Were all mighty grateful for
the privilege of having you and
your guitar music in our lives.
You can count on the fact that
you have a friend who stops
every now and then to think
about you. E. T.
I am writing to thank you for
the most beautiful arrangement (and flawless playing) of
Vincent Ive ever heard. Wanna-be players like myself owe
so much to people like you. I
think you touch peoples lives
more than you know. W. S.
PAGE 2

On the Boulevard
continued from page 1

a listeners attention. But I also know

that repetition leads to boredom so
I season it with surprise. Of course,
too much surprise leads to chaos. Its
a balancing act. I finally settled on
a second four-bar phrase (measures
5-8) that has the original melody but
ends up on a different harmony. (A9)
In measures 9-16, I add variety by
changing the lengths of phrases. I
begin with a pair of two-bar phrases
and follow them with a four-bar
phrase. This short-short-long pattern
is a classic thats been used by great
composers like Johann Sebastian Bach
and Jerry Reed.
When I started Boulevard, I could
have written anything at all. But now
that Im halfway through, I have
fewer options. Its the old dance
with the one who brought you principle. Ill leave it to you to examine
the second half of the tune to see how
I balanced repetition with variation
surprise with expectation.

_ _

When I write a tune this way, I

usually create a spot or two where
my fingers have trouble playing the
music in my imagination. I had to
work on measures 21-24 since there
is a shift going into measure 22 that
could break the flow of the melody.

_ _

I hope these ideas will help you

learn and enjoy my tune. Or maybe
give you the itch to start one of your
own. See you on the Boulevard.

www.

.com

steal from the best. Chet Atkins, CGP

After 13 issues youve sent me

and four or five years of playing your music, I still really enjoy
the heck out of your songs. I
have no doubt that Ive really
expanded and improved my
technique of playing by working through your songs. T. V.

We out here in the hinterland

appreciate the fine arrangements you send to us through
the QUARTERLY. D.M
One of the things I like best
about the QUARTERLY is that
there is something different in
each issue. Ive been playing
this stuff for more than twenty
years and still get a thrill from
learning a new piece. WB

Chop Talk:

Taking Chances
Not long after I moved to Nashville,
Chet observed that I was playing my
arrangements the same each time.
So he asked me what I did if I made
a mistake or had a different idea
while I was playing. Good question.
He went on to say that he was more
comfortable not knowing exactly
how he was going to play a tune on a
given night. Having it all worked out
seemed dangerous to him.
Have you considered that the best
way to avoid mistakes might be to
rely less on memory and more on
your understanding of the tune?
Maybe taking chances is the safest
way to go.

_ _

Of course, if youre going to take

chances, youd better know more
than one way to get through a tune.
Its like driving home from work. You
know several routes and you choose
one depending on your schedule, the
scenery, the traffic, etc.
You dont need to take your life in
your hands. Just play a chord in a
different position. Or, substitute an
ending from a different tune.

_ _

I remember Lenny Breau stopping

in the middle of My Funny Valentine,
putting his guitar down, and ordering a cup of coffee. When I asked him
what was wrong, he replied, I had to
quit. I was about to disappear.
Now, thats taking chances.

JOHN KNOWLES FINGERSTYLE QUARTERLY P. O. BOX 120355 NASHVILLE, TN 37212

Boulevard by John Knowles

Copyright (c) 2004 by Gut String Music (BMI) International Copyright Secured All Rights Reserved

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JOHN KNOWLES FINGERSTYLE QUARTERLY WWW.JOHNKNOWLES.COM

2
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PAGE 3

Boulevard (2/1/04) 1

Boulevard
continued continued continued continued continued continued continued continued

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JOHN KNOWLES FINGERSTYLE QUARTERLY P. O. BOX 120355 NASHVILLE, TN 37212

Boulevard (2/1/04) 2

Boulevard
continued continued continued continued continued continued continued continued

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Boulevard Chords

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x 2 1 3 4 1

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D7

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A7

A+7

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III

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III

x 1 x 2 x 3

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x 0 x 0 1 4

x 2 1 3 4 0

JOHN KNOWLES FINGERSTYLE QUARTERLY WWW.JOHNKNOWLES.COM

PAGE 5

Boulevard (2/1/04) 3

THE QUARTERLY ARCHIVE: Previously published, currently available

#1 (1.1) Smoky Mountain Lullaby (Atkins)
Beautiful Dreamer (arr. Knowles) Coastin
(Knowles) Deck the Halls (arr. Knowles)
O Little Town of Bethlehem (arr. Knowles)
Away in a Manger (arr. Knowles)

#2 (1.2) Tennessee Waltz (arr. Knowles)

Camptown Races (arr. Knowles) Lagrima
(Tarrega) Laguna Lag (Knowles) Sea Breeze
(Knowles)
#3 (1.3) Nelly Bly (arr. Atkins) Subtle
Blossom (Knowles) Grits-n-Biscuits
(Knowles) Lately (Knowles) Estudio
(Aguado)

#4 (1.4) Arkansas Traveler (arr. Atkins)

Amanda from Barbados (Knowles & Atkins)
Etude in D (Sor) Red River Valley (arr.
Knowles)
#5 (2.1) Down Home (Reed) Waltz Forever
(Knowles) Red River Valley Revisited (arr.
Knowles) It Came Upon a Midnight Clear
(arr. Knowles) Silent Night (arr. Knowles)
O Come, All Ye Faithful (arr. Knowles)
#6 (2.2) Londonderry Air (arr. Knowles)
Hidden Charm (arr. Atkins) Honolulu Blue
(Atkins & Knowles) Bourre (Bach)
#7 (2.3) Vincent (arr. Knowles) Trambone
(Atkins) Meanwhile (Knowles) Chopin
Prelude (arr. Knowles)

#8 (2.4) With a Little Help From My Friends

(arr. Knowles) Pavan (Milan) The Gorilla
Song (Jay & John Knowles) Happy Again
(Atkins)
#9 (3.1) Chinatown, My Chinatown (arr.
Atkins) Hold Me (Knowles) Blues Breau
(Knowles) Etude in B minor (Sor)

#10 (3.2) Red Wing (arr. Atkins) Will the

Circle Be Unbroken (arr. Tommy Jones ) A
Minor Adjustment (Knowles) El Testament
dAmelia (arr. Llobet)

#11 (3.3) House of the Rising Sun (arr.

Knowles) Georgia Camp Meeting (arr.
Atkins) Seattle Sunrise (Knowles) Etude in
A (Carcassi) Bach Chorale (arr. Knowles)
#12 (3.4) Waltz for the Lonely (Atkins
& Goodrum) Relaxin (Paul Yandell)
Back Porch Rocker (Knowles) Dark Moon
(Knowles)

#13 (4.1) Every Now and Then (Atkins

& Goodrum) Hymn Tune (arr. Knowles)
Two Hearts (Knowles) Tongue Twister
(Knowles) Turning Home (Knowles) My
Little Waltz (Atkins & Knowles)

#14 (4.2) Sweet Alla Lee (arr. Atkins) Blue

Moon (arr. Knowles) Lattitude Adjustment
(Knowles) Sunset Cowgirl (Knowles)

#15 (4.3) Waiting for Susie B. (Atkins)

Ave Maria (arr. Atkins) Cafe of Dreams
(Knowles) Alice Blue Gown (arr. Knowles)

#16 (4.4) Blue Finger (Reed/arr. Knowles)

Somebody Stole My Gal (arr. Knowles) East
Tennessee Christmas (Atkins & Knowles)
Swanee River (arr. Knowles)
#17 (5.1) Drakesboro Saturday Night
(Knowles) Indiana (arr. Knowles) Our Four
Fathers (Jay Knowles & John Knowles)
Bach Sarabande (arr. Knowles)

#28 (7.4) Do You Know What It Means

To Miss New Orleans (arr. Knowles) Jiffy
Jam (Reed/arr. Knowles) Ocho y Seis
(Knowles) Be Right Back (Knowles)

#29 (8.1) Solace (Joplin/Knowles) Red Hot

Picker (Knowles) Dear Someone (Gillian
Welch & David Rawlings/arr. Knowles)
Canzone y Danza (arr. John Johns)
#30 (8.2) He Aint Heavy... Hes My Brother
(arr. Knowles) Ol Joe Clark (arr. Knowles)
Funeral March of a Marionette (Alfred
Hitchcock Theme) (Gounod/arr. John
Johns) Salley Gardens (arr. Mark Hanson)

#18 (5.2) Forgotten Flowers (arr. Knowles)

Chihuahua Waltz (Knowles) Los Rios Del
Sol (Knowles)

#31 (8.3) Waltz for Debby (arr. Knowles)

Bye Bye Blackbird (arr. Atkins & Knowles)
Appalachian/Coventry Carol (arr. Knowles)
Black is the Color (arr. Knowles)

#20 (5.4) The Entertainer (Joplin/Knowles)

Send in the Clowns (arr. Knowles) Gardenia
(Knowles) They Say the Mississippi
(Knowles)

#33 (9.1) Reedology (Reed) My Foolish

Heart (arr. Knowles) San Antonio Stroll
(arr. Chet Atkins)

#19 (5.3) Avalon (arr. Knowles) Central

City Flyer (Knowles) Owls Psalm (Muriel
Anderson)

#21 (6.1) Struttin (Reed/arr. Knowles)

Walking My Baby Back Home (arr. Knowles)
Cold, Cold Heart (arr. Knowles)
#22 (6.2) The Water is Wide (arr. Mason
Williams) Winter Wonderland (arr.
Knowles) Swedish Wedding March (arr.
Glickstein) The Cascades (Joplin/Knowles)
#23 (6.3) Boulevard (Knowles) Charade
(arr. Knowles & Atkins) My Funny
Valentine (arr. Knowles)

#24 (6.4) It Had to Be You (arr. Knowles)

Birmingham Fandango (arr. Kendrick &
Olschmidt) Bridge Over Troubled Water
(arr. Knowles)
#25 (7.1) Im In the Mood for Love (arr.
Knowles) Summertime, Young Girls
(Knowles) Las Palmas (Knowles) Looney
Tunes Theme (arr. Knowles)

#26 (7.2) Magnetic Rag (Joplin/Knowles)

Loch Lomond (arr. Mason Williams) Pickin
Produce (Atkins & Knowles) If I Was
Django Reinhardt (David Hamburger)
Another Heart (Knowles)

#32 (8.4) Mr. Lucky (Reed/arr. Atkins)

When Sunny Gets Blue (arr. Knowles) Aura
Lee (arr. Jim Atkins & John Knowles) In a
Rose Garden (arr. Joel Henderson)

#34 (9.2) The Early Dawn (La Madrugada)

(Reed) Cards And Letters (Knowles) If This
Had Been Real (Knowles) Rolls (Knowles)
#35 (9.3) The Claw (Reed) Consider This
(Knowles) Ill See You In My Dreams (arr.
Knowles) Flatworld (arr. Breskin)

#36 (9.4) Ashokan Farewell (arr. Knowles)

The Nearness of You (arr. Knowles) Amor
en Secreto (Stephanie Jackson)

#37 (10.1) Blackbird (Lennon/McCartney

arr. Knowles) Maxwells Silver Hammer
(Lennon/McCartney arr. Knowles) Study
in A minor (Sor) Metro Luna (Langston)
#38 (10.2) Eleanor Rigby (Lennon/McCartney arr. Knowles) Ill Be Home For
Christmas (Gannon & Kent arr. Knowles
We Love You Chet (Van Duser) Gymnopdie (Satie arr. Knowles) Bossa Crescente
(Knowles, Worst & Scott)

#27 (7.3) A Man and a Woman (arr.

Knowles) Marie (Randy Newman/arr.
Knowles) Welcome Home, Scott Joplin
(Knowles) Chicken in the Rain (Knowles)

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