At the beginning of measure 1 there is also an important

Little Gremlins issue regarding the precise placement of notes articulated by the
left hand. Broadly speaking, this is the issue which Michael ele-
quently refers to as “rhythmic intonation.” “I practice:
by John Stropes
œ œ œ œœ œ œ
Some additional thoughts on “Ragamuffin” V b 44 œ œ œ œ œ
In composition and in performance, Michael Hedges invests his
music with thought—thoughtful consideration of the musical

4
import of his choices. That’s why we find his music fascinating. 3

2 4
As we listen to it more closely and as we try to perform it our-

4
2 3 2 0 2 3 2 0
selves, we can understand the intelligence that he has given to T 2 0 2 0
these notes. A
“Ragamuffin” is a stunning composition that draws many B
different types of techniques together for its transcendent musi-

V b 44 n œ œ ≈ œ œ ≈ œ œ ≈ œ œ ≈
cal objective. The techniques are woven together seamlessly.
But what does it really takes to be without seams?
In his teaching over the past 10 years Michael has men-
tioned various issues and exercises that he has focused on in
order to bring greater depth to “Ragamuffin.” œ œ œ œ
(The right-hand fingering is very straight-forward in this t b 44 ≈ J ≈ ≈ J ≈ ≈ J ≈ ≈ J ≈
piece for both plucking individual notes and for string-stopping.:
the thumb plays the sixth, fifth and fourth strings, the index fin-
ger plays the third string, the middle finger plays the second 3 2 4

string and the ring finger plays the first string.)

In measure 1, the E which occurs on the last sixteenth of
2
2
3
≈ 2
2
3
≈ 2
2
3
≈ 2
2
3
≈
beat one terminates immediately on beat two. It is stopped by a
left-hand release. Technically this can be challenging because
this left-hand release immediately precedes a pull-off.
Then I try to relax while I’m practicing.”
œ œ œ ‰ œ œ œ ‰
V b 44 œ
J
œ
J
All of measure 1 is meticulously sculpted using extensive
right-hand string-stopping. “I am listening and am very con-
cerned about the duration of notes. For whatever reason it is,
I’ve paid attention to that detail. And that’s what you’re hearing

4
about some of the music that makes you think it’s more than one
3 4
person. Not because I’m an extra-gifted, fast anything. It’s just

4 ‰ J ‰ J
2 3 2 0 2 3 2 0
T that I put a little more thought into when to stop the notes so that
A you can perceive them as voices.”
B Why not see if you can’t get some little gremlins working
This allows the G which occurs on beat two to be perceived as for you? Keep playing these exercises until what you hear makes
part of the melody. a difference to you. Then see what you can do with measures 2,
And this same G is also part of an important middle voice. 3 and 4!
According to Michael Hedges, “I don’t want the G [on beat two] If you have any questions about this material, you can reach
to ring through the A [on beat three] or it won’t be as easily per- me by phone at 414-636-9910, by fax at 414-636-9911, by e-
ceived as a little melody woven in there, which is why I like this mail at stropes@execpc.com or online at
tune: it sounds like there are all these little gremlins going http://www.execpc.com/~stropes.
around.” To stop this G, Michael uses right-hand string-stop- The complete transcription of “Ragamuffin” is now avail-
ping. Practice this exercise and listen for the middle voice: able from Stropes Editions, Ltd. To order call toll-free 800-733-
2520 (USA and Canada) or 414-636-9912.
œ œ œ Œ
V b 44 œ œ œ œœ œ

˙ œ œ
t b 44 ‰ J

4
3
2 4

4
2 3 2 0
T 2 0
0
0
A 0 0
B
John Stropes and Michael Hedges
 Ragamuffin
Michael Hedges
D2 A2 D3 G3 A3 D4

q»¡º•
œ œ œ
V b 44 œ œ
œ œœ nœ œ
Œ
2nd and
œ œ œ.
3rd time

t 4 J
b 4 ˙ ‰

œ œ œ Œ
V b 44 œ œ œ œœ nœ
Œ
œ œ
‰ œ œ œœ n œœœ
J œ œ œœ

˙ œ œ œ. œ. œ œ œ
( )
t b 44 ‰ J J Œ

4
3 -3 -3
2 4 3 2 4 -2 2
-2 1

4
2 3 2 0 0
T 2 0
0 2 3 3
0
5
4 0
0
2
A 0 0 2 3 5 5
B
note 1 note 2

3 2 0
0 2 3
2nd and 0
3rd time 0 2
0

j j j j
œ œ œ œ œ ‰ œœ œ ‰œ œœ œœ Œ œ
V b œœ œ œœ œœ œ œœ œœœ œ
œœ œœ œœ œ
œœ
J
J ‰ J ‰

œ œœ œœ œ
j
œœ œ œ.
tb œ Œ ‰ J
œ
œ ‰
3 1 CV 4/6 C V
3 -3 2 1

T
2 3 2 5
0 5 m
5
5
5
5 ggg ˆ
0 0
0 0
5
5 ˆ
5
5 0
7

gg
0 5 0 5 5 0 0 5 5
A 0 5 5 0m 5 5
B 0
5
5
5
5
0
0
m 0
m 1 J

0
™ 0
™

© 1984 Naked Ear Music (BMI) and Imaginary Road Music (BMI)/Administered by Imaginary Road Music (BMI).
Transcription © 1996 Stropes Editions, Ltd. Ragamuffin 12/10/96 1/9