Patreon Song of the Month: “Bury Me Beneath the Weeping Willow”

“Bury Me Beneath the Weeping Willow” is a traditional song that has circulated widely in early country and bluegrass repertoire, with roots in older Anglo-American ballad traditions. It was recorded early on by the Carter Family in 1928, and later taken up by players like Doc Watson and Ralph Stanley, each bringing a slightly different sense of space and phrasing to it.

This arrangement is based loosely on the version recorded by Ricky Skaggs and Tony Rice (1980), and it works as a study in traditional flatpicking accompaniment—less about embellishment and more about groove and how the guitar supports the song. The notation includes both a single vocal line in the verses and a harmonized part in the chorus; both sit comfortably in open position and are designed to feel natural under the fingers.

At its core, this is an accompaniment-driven approach. Notice the two different ways of playing the open G chord that appear throughout the intro and verses. Using these shapes interchangeably gives subtle variation in color and bass movement without disrupting the flow—an essential part of keeping repeated progressions from sounding stale.

You’ll also see bass walk-ups, like the A–B–C move connecting the G and C chords between bars 2 and 3, along with similar motion in the G–D transitions. Keep these relaxed and in time—they should sit naturally in the groove, not jump out as separate ideas.

More than anything, this arrangement is about timing. The rhythm has a gentle forward motion, and the placement of each bass note and strum needs to feel settled and even. Avoid rushing the walk-ups or leaning too hard on inner notes. If the time is right, the part holds together without needing much else.

Finally, notice that you don’t need to play full six-note chords. Much of the accompaniment relies on partial shapes—two- and three-note fragments drawn from familiar open chord forms. That keeps the texture clear, avoids unnecessary weight, and leaves room for the vocal or melody. In this style, suggesting the harmony is often more effective than spelling it out. One way to think of it is bass plus color: let the bass define the movement, and use the upper notes sparingly to complete the picture.

Song of the Month is available to Patreon members at the Supporters ($5) tier. Once a month Acoustic Guitar Editor Adam Perlmutter delivers an expertly transcribed song to add to your repertoire. Some highlights include “Hotel California,” “It Ain’t Me Babe,” and a chord-melody arrangement of “Avalon.” And as the name indicates, we share a new song every month!