Chords for George Shuffler Crosspicking

I would like to ask you a question.
How did you come up with the cross-picking style of guitar?
What made you come up with that particular way of playing a guitar?
This sounds maybe a little bit funny, but it was out of necessity.
Because most of the time the group I was traveling with, the Stanley Brothers,
and remember it was back during the lean years of bluegrass,
and we traveled, the three of us, and I tried every style.
There wasn't many styles going back then.
There wasn't anything to choose from.
Like they've got today, they can pick whoever they want to and pattern that.
But they didn't have that then.
I think Merle Travis and Mabel Carter were the two, besides some western swing stuff,
that Bob Wills and them played, you know, on their electric guitars.
And [G] I found out that doing a [F] cross-picking, _ _ [N] you feel it, you know, they sang a lot of slow songs,
and at the end when they'd stop and breathe and belch, well, that had _ _ _ to_
I had to do those spaces.
We didn't have a fiddler or a man to step in to help do it.
It was George and then George and then George.
And so we had to come up with something that would make it more full, you know, make it fuller.
And it seemed like it worked.
You certainly have created a style that I think [F#]
fits that type of music,
and I think one of the prettiest styles of guitar playing that I've ever heard.
[G] I know when I was about 14 years old I heard my first Stanley record,
and the tune that really caught my ear was Will You Miss Me [D#] When I'm Gone.
That's been kind of an evergreen.
It's [Gm]
weathered the times,
and a lot of people [N] tell me that that was the first number that caught their ear to want to try to cross-pick.
It's [G] been good.
Well, nobody plays it like you, and if you would at this time,
how about giving us a little bit of Will You Miss Me When I'm Gone?
[G#] I'll do [B] the best I can.
_ _ [F#] _ _ _ _
_ _ [B] _ _ _ _ _ _
_ _ _ _ _ _ _ [F#m] _
_ [E] _ _ _ [B] _ _ _ _
_ _ _ _ _ _ _ _
_ [F#] _ _ _ _ _ _ [B] _
_ _ _ _ _ _ _ _
[G] George, I would like for you to try to explain, if you would,
the pick pattern that you use when you're doing the cross-roll.
Okay.
Well, I'll tell you, there's a difference in the chords that you use it in,
and my favorite of all time is the D position because you can get coarse and fine, [F] get high and low on it.
_ _ So you basically pick up three strings that are side by side, and you play a roll.
Sometimes if you feel real frawn, you want _ _ to get a little extra, you jump down and miss the second string.
So you're [A#m] hitting two down, [F] two strings.
Down and one up, yeah. _
[A#] That's the only way it'll come out.
I've heard it, you know, [F] they're trying to _ get [B] it a rep that way, and you've got no way out.
So you have to play the two down, one up to keep it flowing.
To keep an even flow on it, and to do the original George Shuffer cross-pickings, two down, one up.
[F] If you're real slow like, try to demonstrate that. _ _ _ _
Well, _ _ _ _ _ _ _ _ _ _ _ you've got them all, you've got your highs and lows.
_ [Dm] _ _ [C] _ [F] _ [F] _
_ _ _ It comes natural to me because [A#m] I've done it so long, I reckon [N] I don't see why everybody can't do it.
So in working on a break to a tune, I guess you try to make the melody of the tune,
or try to work the cross-pick roll around the melody.
I do work the, if I can't play the melody on it, I don't play it.
I leave it alone because that to me is a lead instrument, is following playing the melody of it.
Any instrument, not only guitar, a fiddle, banjo, a mandolin, or anything,
if you leave the melody of it, as [Gm] far as I'm concerned, you've left the whole thing.
And that's the reason I keep mine plain and simple,
because there's a whole lot of George Shuffers in the world that's not [F#m] Einstein's,
[G] and they can catch on some of this stuff if it's not too fancy, you know.
Well, I know [A] you've influenced a lot of guitar players down through the years.
A lot of the [G] top names [E] today play the cross-picking style, at [A] least sometimes [G] they'll branch off on it.
Yeah.
Even the hot players, and I want to tell you that I really admire you for what [F#] you've done,
and the work [G#] that you've [F] done with the guitar over the years.
Well, I give it my [N] best.
I give it the heart out of my life, and I've tried to do it right.
And I think that it has caught on pretty good, and I'm glad that it's influenced.
I notice a lot of young pickers now, not at the festivals.
I've been fortunate to travel with you all for the last year or so,
at a lot of the festivals, ever getting to boot me back with Ralph for a reunion, Ralph Stanley.
And so I notice a lot of the parking lot pickers and younger boys are picking pretty good cross-picking guitar.
It seems to me there's a new popularity, you know, a new surgence in young people trying to learn that style.
Yeah, I know.
I have teenagers [G] come up to me and say, could you show me how you do that lick?
And before we get into the teaching part of the video, how about me and you pick another one?
All right,