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lang="en" dir="ltr"><section class="mf-section-0" id="mf-section-0"><style data-mw-deduplicate="TemplateStyles:r1251242444">.mw-parser-output .ambox{border:1px solid #a2a9b1;border-left:10px solid #36c;background-color:#fbfbfb;box-sizing:border-box}.mw-parser-output .ambox+link+.ambox,.mw-parser-output .ambox+link+style+.ambox,.mw-parser-output .ambox+link+link+.ambox,.mw-parser-output .ambox+.mw-empty-elt+link+.ambox,.mw-parser-output .ambox+.mw-empty-elt+link+style+.ambox,.mw-parser-output .ambox+.mw-empty-elt+link+link+.ambox{margin-top:-1px}html body.mediawiki .mw-parser-output .ambox.mbox-small-left{margin:4px 1em 4px 0;overflow:hidden;width:238px;border-collapse:collapse;font-size:88%;line-height:1.25em}.mw-parser-output .ambox-speedy{border-left:10px solid #b32424;background-color:#fee7e6}.mw-parser-output .ambox-delete{border-left:10px solid #b32424}.mw-parser-output .ambox-content{border-left:10px solid #f28500}.mw-parser-output .ambox-style{border-left:10px solid #fc3}.mw-parser-output .ambox-move{border-left:10px solid #9932cc}.mw-parser-output .ambox-protection{border-left:10px solid #a2a9b1}.mw-parser-output .ambox .mbox-text{border:none;padding:0.25em 0.5em;width:100%}.mw-parser-output .ambox .mbox-image{border:none;padding:2px 0 2px 0.5em;text-align:center}.mw-parser-output .ambox .mbox-imageright{border:none;padding:2px 0.5em 2px 0;text-align:center}.mw-parser-output .ambox .mbox-empty-cell{border:none;padding:0;width:1px}.mw-parser-output .ambox .mbox-image-div{width:52px}@media(min-width:720px){.mw-parser-output .ambox{margin:0 10%}}@media print{body.ns-0 .mw-parser-output .ambox{display:none!important}}</style><table class="plainlinks metadata ambox ambox-move" role="presentation"><tbody><tr><td class="mbox-text"><div class="mbox-text-span"><b>A request that this article title be changed to <i><span class="plainlinks"><a class="external text" href="https://en.wikipedia.org/w/index.php?title=Chamber_folk&redirect=no">Chamber folk</a></span></i> is <a href="/wiki/Talk:Folk_baroque#Requested_move_2_December_2024" title="Talk:Folk baroque">under discussion</a></b>. Please <em>do not move</em> this article until the discussion is closed.</div></td></tr></tbody></table> <style data-mw-deduplicate="TemplateStyles:r1129693374">.mw-parser-output .hlist dl,.mw-parser-output .hlist ol,.mw-parser-output .hlist ul{margin:0;padding:0}.mw-parser-output .hlist dd,.mw-parser-output .hlist dt,.mw-parser-output .hlist li{margin:0;display:inline}.mw-parser-output .hlist.inline,.mw-parser-output .hlist.inline dl,.mw-parser-output .hlist.inline ol,.mw-parser-output .hlist.inline ul,.mw-parser-output .hlist dl dl,.mw-parser-output .hlist dl ol,.mw-parser-output .hlist dl ul,.mw-parser-output .hlist ol dl,.mw-parser-output .hlist ol ol,.mw-parser-output .hlist ol ul,.mw-parser-output .hlist ul dl,.mw-parser-output .hlist ul ol,.mw-parser-output .hlist ul ul{display:inline}.mw-parser-output .hlist .mw-empty-li{display:none}.mw-parser-output .hlist dt::after{content:": "}.mw-parser-output .hlist dd::after,.mw-parser-output .hlist li::after{content:" · ";font-weight:bold}.mw-parser-output .hlist dd:last-child::after,.mw-parser-output .hlist dt:last-child::after,.mw-parser-output .hlist li:last-child::after{content:none}.mw-parser-output .hlist dd dd:first-child::before,.mw-parser-output .hlist dd dt:first-child::before,.mw-parser-output .hlist dd li:first-child::before,.mw-parser-output .hlist dt dd:first-child::before,.mw-parser-output .hlist dt dt:first-child::before,.mw-parser-output .hlist dt li:first-child::before,.mw-parser-output .hlist li dd:first-child::before,.mw-parser-output .hlist li dt:first-child::before,.mw-parser-output .hlist li li:first-child::before{content:" (";font-weight:normal}.mw-parser-output .hlist dd dd:last-child::after,.mw-parser-output .hlist dd dt:last-child::after,.mw-parser-output .hlist dd li:last-child::after,.mw-parser-output .hlist dt dd:last-child::after,.mw-parser-output .hlist dt dt:last-child::after,.mw-parser-output .hlist dt li:last-child::after,.mw-parser-output .hlist li dd:last-child::after,.mw-parser-output .hlist li dt:last-child::after,.mw-parser-output .hlist li li:last-child::after{content:")";font-weight:normal}.mw-parser-output .hlist ol{counter-reset:listitem}.mw-parser-output .hlist ol>li{counter-increment:listitem}.mw-parser-output .hlist ol>li::before{content:" "counter(listitem)"\a0 "}.mw-parser-output .hlist dd ol>li:first-child::before,.mw-parser-output .hlist dt ol>li:first-child::before,.mw-parser-output .hlist li ol>li:first-child::before{content:" ("counter(listitem)"\a0 "}</style><style data-mw-deduplicate="TemplateStyles:r1257001546">.mw-parser-output .infobox-subbox{padding:0;border:none;margin:-3px;width:auto;min-width:100%;font-size:100%;clear:none;float:none;background-color:transparent}.mw-parser-output .infobox-3cols-child{margin:auto}.mw-parser-output .infobox .navbar{font-size:100%}@media screen{html.skin-theme-clientpref-night .mw-parser-output .infobox-full-data:not(.notheme)>div:not(.notheme)[style]{background:#1f1f23!important;color:#f8f9fa}}@media screen and (prefers-color-scheme:dark){html.skin-theme-clientpref-os .mw-parser-output .infobox-full-data:not(.notheme) div:not(.notheme){background:#1f1f23!important;color:#f8f9fa}}@media(min-width:640px){body.skin--responsive .mw-parser-output .infobox-table{display:table!important}body.skin--responsive .mw-parser-output .infobox-table>caption{display:table-caption!important}body.skin--responsive .mw-parser-output .infobox-table>tbody{display:table-row-group}body.skin--responsive .mw-parser-output .infobox-table tr{display:table-row!important}body.skin--responsive .mw-parser-output .infobox-table th,body.skin--responsive .mw-parser-output .infobox-table td{padding-left:inherit;padding-right:inherit}}</style><p><b>Folk baroque</b> or <b>baroque guitar</b> is a distinctive and influential guitar <a href="/wiki/Fingerstyle" class="mw-redirect" title="Fingerstyle">fingerstyle</a> developed in Britain in the 1960s, which combined elements of American folk, <a href="/wiki/Blues" title="Blues">blues</a>, <a href="/wiki/Jazz" title="Jazz">jazz</a> and <a href="/wiki/Ragtime" title="Ragtime">ragtime</a> with <a href="/wiki/British_folk_music" class="mw-redirect" title="British folk music">British folk music</a> to produce a new and elaborate form of accompaniment. It has been highly important in <a href="/wiki/Folk_music" title="Folk music">folk music</a>, <a href="/wiki/Folk_rock" title="Folk rock">folk rock</a> and <a href="/wiki/British_folk_rock" title="British folk rock">British folk rock</a> playing, particularly in Britain, Ireland, North America and France. </p><table class="infobox nowraplinks"><tbody><tr><th colspan="2" class="infobox-above">Folk baroque</th></tr><tr><th scope="row" class="infobox-label">Other names</th><td class="infobox-data hlist"> <ul><li>Baroque guitar</li></ul> </td></tr><tr><th scope="row" class="infobox-label">Stylistic origins</th><td class="infobox-data hlist"> <ul><li><a href="/wiki/Contemporary_folk_music" title="Contemporary folk music">Folk</a></li> <li><a href="/wiki/Baroque_music" title="Baroque music">Baroque music</a></li> <li><a href="/wiki/Jazz" title="Jazz">jazz</a></li> <li><a href="/wiki/Blues" title="Blues">blues</a></li> <li><a href="/wiki/Ragtime" title="Ragtime">ragtime</a></li> <li><a href="/wiki/Progressive_folk" title="Progressive folk">progressive folk</a></li></ul> </td></tr><tr><th scope="row" class="infobox-label">Cultural origins</th><td class="infobox-data hlist">1960s</td></tr><tr><th scope="row" class="infobox-label">Typical instruments</th><td class="infobox-data hlist"> <ul><li><a href="/wiki/Acoustic_guitar" title="Acoustic guitar">Acoustic guitar</a></li></ul> </td></tr><tr><th colspan="2" class="infobox-header">Other topics</th></tr><tr><td colspan="2" class="infobox-full-data hlist"> <ul><li><a href="/wiki/Baroque_pop" title="Baroque pop">Baroque pop</a></li></ul> </td></tr></tbody></table> <div id="toc" class="toc" role="navigation" aria-labelledby="mw-toc-heading"><input type="checkbox" role="button" id="toctogglecheckbox" class="toctogglecheckbox" style="display:none"><div class="toctitle" lang="en" dir="ltr"><h2 id="mw-toc-heading">Contents</h2><span class="toctogglespan"><label class="toctogglelabel" for="toctogglecheckbox"></label></span></div> <ul> <li class="toclevel-1 tocsection-1"><a href="#Definition"><span class="tocnumber">1</span> <span class="toctext">Definition</span></a></li> <li class="toclevel-1 tocsection-2"><a href="#History"><span class="tocnumber">2</span> <span class="toctext">History</span></a> <ul> <li class="toclevel-2 tocsection-3"><a href="#Origins"><span class="tocnumber">2.1</span> <span class="toctext">Origins</span></a></li> <li class="toclevel-2 tocsection-4"><a href="#Development"><span class="tocnumber">2.2</span> <span class="toctext">Development</span></a></li> </ul> </li> <li class="toclevel-1 tocsection-5"><a href="#Significance"><span class="tocnumber">3</span> <span class="toctext">Significance</span></a></li> <li class="toclevel-1 tocsection-6"><a href="#See_also"><span class="tocnumber">4</span> <span class="toctext">See also</span></a></li> <li class="toclevel-1 tocsection-7"><a href="#References"><span class="tocnumber">5</span> <span class="toctext">References</span></a></li> </ul> </div> </section><div class="mw-heading mw-heading2 section-heading" onclick="mfTempOpenSection(1)"><span class="indicator mf-icon mf-icon-expand mf-icon--small"></span><h2 id="Definition">Definition</h2><span class="mw-editsection"> <a role="button" href="/w/index.php?title=Folk_baroque&action=edit&section=1" title="Edit section: Definition" class="cdx-button cdx-button--size-large cdx-button--fake-button cdx-button--fake-button--enabled cdx-button--icon-only cdx-button--weight-quiet "> <span class="minerva-icon minerva-icon--edit"></span> <span>edit</span> </a> </span> </div><section class="mf-section-1 collapsible-block" id="mf-section-1"> <p>Particularly notable in the folk baroque style was the adoption of <a href="/wiki/DADGAD" title="DADGAD">DADGAD</a> tuning, which gave a form of suspended-fourth D chord, usefully neither major or minor, which could be employed as the basis for modal-based folk songs.<sup id="cite_ref-coehlo_p39_1-0" class="reference"><a href="#cite_note-coehlo_p39-1"><span class="cite-bracket">[</span>1<span class="cite-bracket">]</span></a></sup> It is uncertain who first developed this tuning, as both <a href="/wiki/Davy_Graham" class="mw-redirect" title="Davy Graham">Davy Graham</a> and <a href="/wiki/Martin_Carthy" title="Martin Carthy">Martin Carthy</a> attributed it to each other, but it has been speculated that Graham may have acquired it from the <a href="/wiki/Oud" title="Oud">oud</a> while visiting north Africa.<sup id="cite_ref-coehlo_p39_1-1" class="reference"><a href="#cite_note-coehlo_p39-1"><span class="cite-bracket">[</span>1<span class="cite-bracket">]</span></a></sup> This was combined with a fingerstyle based on <a href="/wiki/Travis_picking" class="mw-redirect" title="Travis picking">Travis picking</a> and a focus on melody, that made it suitable as an accompaniment.<sup id="cite_ref-coehlo_p39_1-2" class="reference"><a href="#cite_note-coehlo_p39-1"><span class="cite-bracket">[</span>1<span class="cite-bracket">]</span></a></sup> <a href="/wiki/Robin_Denselow" title="Robin Denselow">Robin Denselow</a>, who popularized the phrase "folk baroque", singled out Graham's recording of traditional English folk song "Seven Gypsies" on <i><a href="/wiki/Folk,_Blues_and_Beyond" title="Folk, Blues and Beyond">Folk, Blues and Beyond</a></i> (1965) as the beginning of the style.<sup id="cite_ref-2" class="reference"><a href="#cite_note-2"><span class="cite-bracket">[</span>2<span class="cite-bracket">]</span></a></sup> </p> </section><div class="mw-heading mw-heading2 section-heading" onclick="mfTempOpenSection(2)"><span class="indicator mf-icon mf-icon-expand mf-icon--small"></span><h2 id="History">History</h2><span class="mw-editsection"> <a role="button" href="/w/index.php?title=Folk_baroque&action=edit&section=2" title="Edit section: History" class="cdx-button cdx-button--size-large cdx-button--fake-button cdx-button--fake-button--enabled cdx-button--icon-only cdx-button--weight-quiet "> <span class="minerva-icon minerva-icon--edit"></span> <span>edit</span> </a> </span> </div><section class="mf-section-2 collapsible-block" id="mf-section-2"> <div class="mw-heading mw-heading3"><h3 id="Origins">Origins</h3><span class="mw-editsection"> <a role="button" href="/w/index.php?title=Folk_baroque&action=edit&section=3" title="Edit section: Origins" class="cdx-button cdx-button--size-large cdx-button--fake-button cdx-button--fake-button--enabled cdx-button--icon-only cdx-button--weight-quiet "> <span class="minerva-icon minerva-icon--edit"></span> <span>edit</span> </a> </span> </div> <p>Many of the English folk musicians who emerged in the early 1960s as part of the <a href="/wiki/Folk_music_of_England#The_second_British_folk_revival_1945-69" class="mw-redirect" title="Folk music of England">Second British folk revival</a> began their careers in the short-lived <a href="/wiki/Skiffle" title="Skiffle">skiffle</a> craze of the later 1950s and as a result were familiar with American blues, folk and jazz styles.<sup id="cite_ref-3" class="reference"><a href="#cite_note-3"><span class="cite-bracket">[</span>3<span class="cite-bracket">]</span></a></sup> Initially they copied these styles, occasionally using open D and G tunings, but by the early 1960s a distinctive way of playing acoustic guitar began to emerge as performers like <a href="/wiki/Davy_Graham" class="mw-redirect" title="Davy Graham">Davy Graham</a> and <a href="/wiki/Martin_Carthy" title="Martin Carthy">Martin Carthy</a> attempted to apply these styles to the playing of traditional English <a href="/wiki/Musical_modes" class="mw-redirect" title="Musical modes">modal music</a>. They were soon followed by artists such as <a href="/wiki/Bert_Jansch" title="Bert Jansch">Bert Jansch</a> and <a href="/wiki/John_Renbourn" title="John Renbourn">John Renbourn</a>, who further defined the style.<sup id="cite_ref-4" class="reference"><a href="#cite_note-4"><span class="cite-bracket">[</span>4<span class="cite-bracket">]</span></a></sup> </p><p>A landmark in this early period was the release, by <a href="/wiki/Topic_Records" title="Topic Records">Topic</a>, of the <a href="/wiki/Extended_play" title="Extended play">EP</a> <i>3/4 A.D</i> by <a href="/wiki/Alexis_Korner" title="Alexis Korner">Alexis Korner</a> and Davy Graham in April 1962.<sup id="cite_ref-5" class="reference"><a href="#cite_note-5"><span class="cite-bracket">[</span>5<span class="cite-bracket">]</span></a></sup> This includes the instrumental "<a href="/wiki/Anji_(song)" class="mw-redirect" title="Anji (song)">Angi</a>" which was to become Graham's best-known composition, as well as the title track "3/4 A.D.", named after its time signature and the initials of the two performers. This instrumental piece took its inspiration from jazz sources such as <a href="/wiki/Miles_Davis" title="Miles Davis">Miles Davis</a> and <a href="/wiki/Charles_Mingus" title="Charles Mingus">Charles Mingus</a>, but was in the form of an acoustic guitar duet by Korner and Graham—one of the earliest recordings of folk baroque. The sleeve notes by Korner struggled to classify the music but twice resort to the term "baroque".<sup id="cite_ref-6" class="reference"><a href="#cite_note-6"><span class="cite-bracket">[</span>6<span class="cite-bracket">]</span></a></sup> </p> <div class="mw-heading mw-heading3"><h3 id="Development">Development</h3><span class="mw-editsection"> <a role="button" href="/w/index.php?title=Folk_baroque&action=edit&section=4" title="Edit section: Development" class="cdx-button cdx-button--size-large cdx-button--fake-button cdx-button--fake-button--enabled cdx-button--icon-only cdx-button--weight-quiet "> <span class="minerva-icon minerva-icon--edit"></span> <span>edit</span> </a> </span> </div> <p>While Graham mixed this with a swathe of Indian, African, American, Celtic and modern and traditional American influences, Carthy in particular used the tuning in order to replicate the drone of <a href="/wiki/Uilleann_pipes" title="Uilleann pipes">uilleann pipes</a>, <a href="/wiki/Hurdy-gurdy" title="Hurdy-gurdy">hurdy-gurdy</a> or the <a href="/wiki/Fiddle" title="Fiddle">fiddle</a> found in British medieval and folk music, played by the thumb on the two lowest strings. The style was further developed by Jansch, who brought a more forceful style of picking and, indirectly, influences from Jazz and Ragtime, leading particularly to more complex basslines. Renbourn built on all these trends and was the artist whose repertoire was most influenced by Medieval and Renaissance music. </p><p>In the early 1970s, the next generation of British artists added new tunings and techniques, reflected in the work of artists like <a href="/wiki/Nick_Drake" title="Nick Drake">Nick Drake</a>, <a href="/wiki/Tim_Buckley" title="Tim Buckley">Tim Buckley</a> and particularly <a href="/wiki/John_Martyn" title="John Martyn">John Martyn</a>, whose <i><a href="/wiki/Solid_Air" title="Solid Air">Solid Air</a></i> (1972) set the bar for subsequent British acoustic guitarists.<sup id="cite_ref-7" class="reference"><a href="#cite_note-7"><span class="cite-bracket">[</span>7<span class="cite-bracket">]</span></a></sup> Perhaps the most prominent exponent of recent years has been <a href="/wiki/Martin_Simpson" title="Martin Simpson">Martin Simpson</a>, whose complex mix of traditional English and American material, together with innovative arrangements and techniques like the use of guitar slides, represents a deliberate attempt to create a unique and personal style.<sup id="cite_ref-8" class="reference"><a href="#cite_note-8"><span class="cite-bracket">[</span>8<span class="cite-bracket">]</span></a></sup> </p> </section><div class="mw-heading mw-heading2 section-heading" onclick="mfTempOpenSection(3)"><span class="indicator mf-icon mf-icon-expand mf-icon--small"></span><h2 id="Significance">Significance</h2><span class="mw-editsection"> <a role="button" href="/w/index.php?title=Folk_baroque&action=edit&section=5" title="Edit section: Significance" class="cdx-button cdx-button--size-large cdx-button--fake-button cdx-button--fake-button--enabled cdx-button--icon-only cdx-button--weight-quiet "> <span class="minerva-icon minerva-icon--edit"></span> <span>edit</span> </a> </span> </div><section class="mf-section-3 collapsible-block" id="mf-section-3"> <p>As well as being a continuing influence in Britain which created a network of underground folk clubs across the country, mostly in urban centres, the style had an impact elsewhere. Martin Carthy passed on his guitar style to French guitarist <a href="/wiki/Pierre_Bensusan" title="Pierre Bensusan">Pierre Bensusan</a>, who made it part of his own technique for playing French and Irish music.<sup id="cite_ref-coehlo_p39_1-3" class="reference"><a href="#cite_note-coehlo_p39-1"><span class="cite-bracket">[</span>1<span class="cite-bracket">]</span></a></sup> Perhaps from here it was taken up by in Scotland by <a href="/wiki/Dick_Gaughan" title="Dick Gaughan">Dick Gaughan</a>, but particularly by Irish musicians like <a href="/wiki/Paul_Brady" title="Paul Brady">Paul Brady</a>, <a href="/wiki/D%C3%B3nal_Lunny" title="Dónal Lunny">Dónal Lunny</a> and <a href="/wiki/Mick_Moloney" title="Mick Moloney">Mick Moloney</a>.<sup id="cite_ref-henigan_p4_9-0" class="reference"><a href="#cite_note-henigan_p4-9"><span class="cite-bracket">[</span>9<span class="cite-bracket">]</span></a></sup> Carthy also influenced <a href="/wiki/Paul_Simon" title="Paul Simon">Paul Simon</a>, particularly evident on "<a href="/wiki/Scarborough_Fair_(ballad)" title="Scarborough Fair (ballad)">Scarborough Fair</a>", which he taught to Simon,<sup id="cite_ref-10" class="reference"><a href="#cite_note-10"><span class="cite-bracket">[</span>10<span class="cite-bracket">]</span></a></sup> and a recording of Graham's Anji that appears on <i><a href="/wiki/Sounds_of_Silence_(album)" class="mw-redirect" title="Sounds of Silence (album)">Sounds of Silence</a></i>, and as a result was copied by many subsequent folk guitarists.<sup id="cite_ref-coehlo_p39_1-4" class="reference"><a href="#cite_note-coehlo_p39-1"><span class="cite-bracket">[</span>1<span class="cite-bracket">]</span></a></sup> By the 1970s Americans such as <a href="/wiki/Duck_Baker" title="Duck Baker">Duck Baker</a>, <a href="/wiki/Eric_Schoenberg" title="Eric Schoenberg">Eric Schoenberg</a> were arranging solo guitar versions of Celtic dance tunes, slow airs, bagpipe music, and harp pieces by <a href="/wiki/Turlough_O%27Carolan" title="Turlough O'Carolan">Turlough O'Carolan</a> and earlier harper-composers. Renbourn and Jansch's complex sounds were also highly influential on <a href="/wiki/Mike_Oldfield" title="Mike Oldfield">Mike Oldfield</a>'s early music.<sup id="cite_ref-11" class="reference"><a href="#cite_note-11"><span class="cite-bracket">[</span>11<span class="cite-bracket">]</span></a></sup> The style also had an impact within <a href="/wiki/British_folk_rock" title="British folk rock">British folk rock</a>, where, particularly <a href="/wiki/Richard_Thompson_(musician)" title="Richard Thompson (musician)">Richard Thompson</a> used the DADGAD tuning, but with a <a href="/wiki/Hybrid_picking" title="Hybrid picking">hybrid picking</a> style to produce a similar, but distinctive effect.<sup id="cite_ref-henigan_p4_9-1" class="reference"><a href="#cite_note-henigan_p4-9"><span class="cite-bracket">[</span>9<span class="cite-bracket">]</span></a></sup> </p> </section><div class="mw-heading mw-heading2 section-heading" onclick="mfTempOpenSection(4)"><span class="indicator mf-icon mf-icon-expand mf-icon--small"></span><h2 id="See_also">See also</h2><span class="mw-editsection"> <a role="button" href="/w/index.php?title=Folk_baroque&action=edit&section=6" title="Edit section: See also" class="cdx-button cdx-button--size-large cdx-button--fake-button cdx-button--fake-button--enabled cdx-button--icon-only cdx-button--weight-quiet "> <span class="minerva-icon minerva-icon--edit"></span> <span>edit</span> </a> </span> </div><section class="mf-section-4 collapsible-block" id="mf-section-4"> <ul><li><a href="/wiki/American_primitive_guitar" title="American primitive guitar">American primitive guitar</a></li> <li><a href="/wiki/New_Acoustic_Music" class="mw-redirect" title="New Acoustic Music">New Acoustic Music</a></li> <li><a href="/wiki/Progressive_folk" title="Progressive folk">Progressive folk</a></li></ul> </section><div class="mw-heading mw-heading2 section-heading" onclick="mfTempOpenSection(5)"><span class="indicator mf-icon mf-icon-expand mf-icon--small"></span><h2 id="References">References</h2><span class="mw-editsection"> <a role="button" href="/w/index.php?title=Folk_baroque&action=edit&section=7" title="Edit section: References" class="cdx-button cdx-button--size-large cdx-button--fake-button cdx-button--fake-button--enabled cdx-button--icon-only cdx-button--weight-quiet "> <span class="minerva-icon minerva-icon--edit"></span> <span>edit</span> </a> </span> </div><section class="mf-section-5 collapsible-block" id="mf-section-5"> <style data-mw-deduplicate="TemplateStyles:r1239543626">.mw-parser-output .reflist{margin-bottom:0.5em;list-style-type:decimal}@media screen{.mw-parser-output .reflist{font-size:90%}}.mw-parser-output .reflist .references{font-size:100%;margin-bottom:0;list-style-type:inherit}.mw-parser-output .reflist-columns-2{column-width:30em}.mw-parser-output .reflist-columns-3{column-width:25em}.mw-parser-output .reflist-columns{margin-top:0.3em}.mw-parser-output .reflist-columns ol{margin-top:0}.mw-parser-output .reflist-columns li{page-break-inside:avoid;break-inside:avoid-column}.mw-parser-output .reflist-upper-alpha{list-style-type:upper-alpha}.mw-parser-output .reflist-upper-roman{list-style-type:upper-roman}.mw-parser-output .reflist-lower-alpha{list-style-type:lower-alpha}.mw-parser-output .reflist-lower-greek{list-style-type:lower-greek}.mw-parser-output .reflist-lower-roman{list-style-type:lower-roman}</style><div class="reflist"> <div class="mw-references-wrap mw-references-columns"><ol class="references"> <li id="cite_note-coehlo_p39-1"><span class="mw-cite-backlink">^ <a href="#cite_ref-coehlo_p39_1-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-coehlo_p39_1-1"><sup><i><b>b</b></i></sup></a> <a href="#cite_ref-coehlo_p39_1-2"><sup><i><b>c</b></i></sup></a> <a href="#cite_ref-coehlo_p39_1-3"><sup><i><b>d</b></i></sup></a> <a href="#cite_ref-coehlo_p39_1-4"><sup><i><b>e</b></i></sup></a></span> <span class="reference-text">V. Coelho, <i><a href="/wiki/Cambridge_Companions_to_Music" class="mw-redirect" title="Cambridge Companions to Music">The Cambridge Companion to the Guitar</a></i> (Cambridge University Press, 2003), p. 39.</span> </li> <li id="cite_note-2"><span class="mw-cite-backlink"><b><a href="#cite_ref-2">^</a></b></span> <span class="reference-text">D. Laing, K. Dallas, R. Denselow and R. Shelton, <i>The Electric Muse</i> (Methuen, 1975), p. 145.</span> </li> <li id="cite_note-3"><span class="mw-cite-backlink"><b><a href="#cite_ref-3">^</a></b></span> <span class="reference-text">M. Brocken, <i>The British Folk Revival 1944-2002</i> (Ashgate, Aldershot, 2003), p. 114.</span> </li> <li id="cite_note-4"><span class="mw-cite-backlink"><b><a href="#cite_ref-4">^</a></b></span> <span class="reference-text">B. Sweers, <i>Electric Folk: The Changing Face of English Traditional Music</i> (Oxford University Press, 2005) pp. 184-89.</span> </li> <li id="cite_note-5"><span class="mw-cite-backlink"><b><a href="#cite_ref-5">^</a></b></span> <span class="reference-text"><style data-mw-deduplicate="TemplateStyles:r1238218222">.mw-parser-output cite.citation{font-style:inherit;word-wrap:break-word}.mw-parser-output .citation q{quotes:"\"""\"""'""'"}.mw-parser-output .citation:target{background-color:rgba(0,127,255,0.133)}.mw-parser-output .id-lock-free.id-lock-free a{background:url("//upload.wikimedia.org/wikipedia/commons/6/65/Lock-green.svg")right 0.1em center/9px no-repeat}.mw-parser-output .id-lock-limited.id-lock-limited a,.mw-parser-output .id-lock-registration.id-lock-registration a{background:url("//upload.wikimedia.org/wikipedia/commons/d/d6/Lock-gray-alt-2.svg")right 0.1em center/9px no-repeat}.mw-parser-output .id-lock-subscription.id-lock-subscription a{background:url("//upload.wikimedia.org/wikipedia/commons/a/aa/Lock-red-alt-2.svg")right 0.1em center/9px no-repeat}.mw-parser-output .cs1-ws-icon a{background:url("//upload.wikimedia.org/wikipedia/commons/4/4c/Wikisource-logo.svg")right 0.1em center/12px no-repeat}body:not(.skin-timeless):not(.skin-minerva) .mw-parser-output .id-lock-free a,body:not(.skin-timeless):not(.skin-minerva) .mw-parser-output .id-lock-limited a,body:not(.skin-timeless):not(.skin-minerva) .mw-parser-output .id-lock-registration a,body:not(.skin-timeless):not(.skin-minerva) .mw-parser-output .id-lock-subscription a,body:not(.skin-timeless):not(.skin-minerva) .mw-parser-output .cs1-ws-icon a{background-size:contain;padding:0 1em 0 0}.mw-parser-output .cs1-code{color:inherit;background:inherit;border:none;padding:inherit}.mw-parser-output .cs1-hidden-error{display:none;color:var(--color-error,#d33)}.mw-parser-output .cs1-visible-error{color:var(--color-error,#d33)}.mw-parser-output .cs1-maint{display:none;color:#085;margin-left:0.3em}.mw-parser-output .cs1-kern-left{padding-left:0.2em}.mw-parser-output .cs1-kern-right{padding-right:0.2em}.mw-parser-output .citation .mw-selflink{font-weight:inherit}@media screen{.mw-parser-output .cs1-format{font-size:95%}html.skin-theme-clientpref-night .mw-parser-output .cs1-maint{color:#18911f}}@media screen and (prefers-color-scheme:dark){html.skin-theme-clientpref-os .mw-parser-output .cs1-maint{color:#18911f}}</style><cite id="CITEREFHarper2006" class="citation book cs1">Harper, Colin (2006). <i>Dazzling Stranger: Bert Jansch and the British Folk and Blues Revival</i> (2006 ed.). Bloomsbury. p. 85. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/0-7475-8725-6" title="Special:BookSources/0-7475-8725-6"><bdi>0-7475-8725-6</bdi></a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=Dazzling+Stranger%3A+Bert+Jansch+and+the+British+Folk+and+Blues+Revival&rft.pages=85&rft.edition=2006&rft.pub=Bloomsbury&rft.date=2006&rft.isbn=0-7475-8725-6&rft.aulast=Harper&rft.aufirst=Colin&rfr_id=info%3Asid%2Fen.wikipedia.org%3AFolk+baroque" class="Z3988"></span></span> </li> <li id="cite_note-6"><span class="mw-cite-backlink"><b><a href="#cite_ref-6">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite class="citation web cs1"><a rel="nofollow" class="external text" href="http://alexis-korner.net/34ad.html">"<i>3/4 A.D.</i> sleeve notes"</a><span class="reference-accessdate">. Retrieved <span class="nowrap">2009-03-03</span></span>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=unknown&rft.btitle=3%2F4+A.D.+sleeve+notes&rft_id=http%3A%2F%2Falexis-korner.net%2F34ad.html&rfr_id=info%3Asid%2Fen.wikipedia.org%3AFolk+baroque" class="Z3988"></span></span> </li> <li id="cite_note-7"><span class="mw-cite-backlink"><b><a href="#cite_ref-7">^</a></b></span> <span class="reference-text">P. Buckley, <i>The Rough Guide to Rock: the definitive guide to more than 1200 artists and bands</i> (Rough Guides, 2003), pp. 145, 211-12, 643-44.</span> </li> <li id="cite_note-8"><span class="mw-cite-backlink"><b><a href="#cite_ref-8">^</a></b></span> <span class="reference-text">R. Weissman, <i>Which Side are You On?: An Inside History of the Folk Music Revival in America</i> (Continuum, 2005), p. 274.</span> </li> <li id="cite_note-henigan_p4-9"><span class="mw-cite-backlink">^ <a href="#cite_ref-henigan_p4_9-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-henigan_p4_9-1"><sup><i><b>b</b></i></sup></a></span> <span class="reference-text">J. Henigan, <i>Dadgad Tuning: Traditional Irish and Original Tunes and Songs</i> (Mel Bay, 1999), p. 4.</span> </li> <li id="cite_note-10"><span class="mw-cite-backlink"><b><a href="#cite_ref-10">^</a></b></span> <span class="reference-text">Harper p.172 "'Scarborough Fair' was Martin Carthy's 'big song' of the time. [...] Around the same time, Tom Paxton was invited to the Carthys' for dinner and Simon arrived in tow. The song's words and arrangement were noted down over dinner and swiftly copyrighted to Paul Simon."</span> </li> <li id="cite_note-11"><span class="mw-cite-backlink"><b><a href="#cite_ref-11">^</a></b></span> <span class="reference-text">J. DeRogatis, <i>Turn on Your Mind: Four Decades of Great Psychedelic Rock</i> (Hal Leonard, 2003), p. 173.</span> </li> </ol></div></div> <div class="navbox-styles"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1129693374"><style data-mw-deduplicate="TemplateStyles:r1236075235">.mw-parser-output .navbox{box-sizing:border-box;border:1px solid #a2a9b1;width:100%;clear:both;font-size:88%;text-align:center;padding:1px;margin:1em auto 0}.mw-parser-output .navbox .navbox{margin-top:0}.mw-parser-output .navbox+.navbox,.mw-parser-output .navbox+.navbox-styles+.navbox{margin-top:-1px}.mw-parser-output .navbox-inner,.mw-parser-output .navbox-subgroup{width:100%}.mw-parser-output .navbox-group,.mw-parser-output .navbox-title,.mw-parser-output .navbox-abovebelow{padding:0.25em 1em;line-height:1.5em;text-align:center}.mw-parser-output .navbox-group{white-space:nowrap;text-align:right}.mw-parser-output .navbox,.mw-parser-output .navbox-subgroup{background-color:#fdfdfd}.mw-parser-output .navbox-list{line-height:1.5em;border-color:#fdfdfd}.mw-parser-output .navbox-list-with-group{text-align:left;border-left-width:2px;border-left-style:solid}.mw-parser-output tr+tr>.navbox-abovebelow,.mw-parser-output tr+tr>.navbox-group,.mw-parser-output tr+tr>.navbox-image,.mw-parser-output tr+tr>.navbox-list{border-top:2px solid #fdfdfd}.mw-parser-output .navbox-title{background-color:#ccf}.mw-parser-output .navbox-abovebelow,.mw-parser-output .navbox-group,.mw-parser-output .navbox-subgroup .navbox-title{background-color:#ddf}.mw-parser-output .navbox-subgroup .navbox-group,.mw-parser-output .navbox-subgroup .navbox-abovebelow{background-color:#e6e6ff}.mw-parser-output .navbox-even{background-color:#f7f7f7}.mw-parser-output .navbox-odd{background-color:transparent}.mw-parser-output .navbox .hlist td dl,.mw-parser-output .navbox .hlist td ol,.mw-parser-output .navbox .hlist td ul,.mw-parser-output .navbox td.hlist dl,.mw-parser-output .navbox td.hlist ol,.mw-parser-output .navbox td.hlist ul{padding:0.125em 0}.mw-parser-output .navbox .navbar{display:block;font-size:100%}.mw-parser-output .navbox-title .navbar{float:left;text-align:left;margin-right:0.5em}body.skin--responsive .mw-parser-output .navbox-image img{max-width:none!important}@media print{body.ns-0 .mw-parser-output .navbox{display:none!important}}</style></div> <div class="navbox-styles"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1129693374"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1236075235"><style data-mw-deduplicate="TemplateStyles:r1239334494">@media screen{html.skin-theme-clientpref-night .mw-parser-output div:not(.notheme)>.tmp-color,html.skin-theme-clientpref-night .mw-parser-output p>.tmp-color,html.skin-theme-clientpref-night .mw-parser-output table:not(.notheme) .tmp-color{color:inherit!important}}@media screen and (prefers-color-scheme:dark){html.skin-theme-clientpref-os .mw-parser-output div:not(.notheme)>.tmp-color,html.skin-theme-clientpref-os .mw-parser-output p>.tmp-color,html.skin-theme-clientpref-os .mw-parser-output table:not(.notheme) .tmp-color{color:inherit!important}}</style></div>    </section></div> <noscript><img src="https://login.wikimedia.org/wiki/Special:CentralAutoLogin/start?type=1x1&useformat=mobile" alt="" width="1" height="1" style="border: none; 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