Morgan Sexton is a name commonly heard in the old-time music world, but until I heard a tune called Beautiful Doll, I didn’t pay much attention to him. He’s known for his 2-finger picking, a style which I haven’t explored in depth. The modal melody of this tune captivates me, in my ears epitomizing mountain music. Here’s a clip with the tune and Sexton’s comments: A Great Beautiful Doll. In the video he describes a fiddling friend named Boyd Watts (?) who played it on his porch at night. A neighbor, who called Boyd a “Baptist preacher”, said it was the prettiest tune he’d ever heard.
Morgan (1911-1992) came from eastern Kentucky, as did many great banjo players. His whole family played banjo (you’ve probably heard of his nephew, Lee Sexton). He learned at the feet of sister Hattie, who taught him songs, but died young at 18 years old from tuberculosis, as told here, along with several autobiographical tales of a hard life. If you watch, you’ll hear how from a lard bucket stolen from his mother, Morgan made his first banjo. He worked at several jobs beginning at 13 years old, six years after his father died. The first job was in a sawmill and later in mining, and Morgan's musicianship wasn’t “discovered”, as is true for many, until he was in his later years -- 77 years old (check out this video at a festival--you can watch without logging in). He then earned musical recognition for both singing and his unique 2-finger style.
Biographical information about Morgan Sexton is found in these June Appal Recordings liner notes and at the site for the National Endowment for the Arts. He had won the honor of being the 1991 NEA National Heritage Fellow! Stephen Wade--a musical legend himself who I personally feel should win this award one day--actually was present when Morgan received the National Endowment Fellowship and distinctly remembers the occasion. “When he sang and played, the banjo's notes so rich in tone, and really, overtones, he summoned another time, another culture … the music was at once archaic and ineffable.”
In this video of Frank Lee the tune is played in sawmill tuning, but by watching Sexton’s fingers, he’s apparently in open G tuning, as he often frets the second string on the first fret, rather than tune it up a half step. A popular clawhammer version by Nora Brown may be in modal tuning, too. And here is our own Andy Taylor playing Beautiful Doll in his serene, lovely style. I arranged it both in open G for 2-finger style and sawmill tuning for clawhammer, combining them here into one video.
Edited by - JanetB on 05/01/2026 11:34:51
It IS beautiful, meditative. Thank you! banjered
Thank you, especially for the notation.
Great tune! Has anyone ever figured out the lyrics that Morgan is singing?
quote:
Originally posted by Jim_VAGreat tune! Has anyone ever figured out the lyrics that Morgan is singing?
Do you mean in this recording at 1:15? https://juneappalrecordings.bandcamp.com/track/its-a-beautiful-doll. I have trouble understanding his normal speech, let alone his lyrics. In this recording I can't make them out. The esteemed Gail Gillepsie on BHO wrote in a past thread: "?What makes Morgan Sexton's sound so goosebumpy to me is the contrast between the ethereal tone of his mastertone and the roughhewn quality of his voice. And he knew lots of old songs, ballads & mysterious fragments of half-forgotten songs. One of my favorites is the modal-sounding 'It's a Pretty Little Doll' (what the?) where he sings what sounds like old irish 'mouth music' nonsense syllables against the silvery punctuation of his banjo." So, is Gail correct in assuming nonsense syllables is the case here? I'm still not sure. That's why I often like to see lyrics written -- it really helps me.
One other thing in this recording is Morgan's use of the dominant G chord at the end of It's a Beautiful Doll (and note the slight change in the title), rather than remaining in a modal setting. (BTW, if you want to listen to the Appal Recording, it might cost you $1 or buy the digital album for $7. I was able to listen first before purchasing.)
That is the best explanation of what he is singing. Thanks!
Janet, that's beautiful. I started the TF version last night, just the first couple of measures or so, then again with my first cup of coffee before heading off to church this morning.
Many thanks.
quote:
Originally posted by reubenstumpJanet, that's beautiful. I started the TF version last night, just the first couple of measures or so, then again with my first cup of coffee before heading off to church this morning.
Many thanks.
Thanks, Reuben. Hopefully you'll learn all of Beautiful Doll.
I'm feeling motivated to learn more from Morgan Sexton's playing. He sings a lot to accompany his banjo playing. As Gail Gillepsie wrote about the contrast between his playing and singing -- one being "ethereal" and the other being "roughhewn", I'm attracting to that ethereal sound (but perhaps can add some singing to it). His banjo is melodic and flowing, like I hear in some bluegrass rolls. A possible future TOTW can be Ida Red, which Morgan plays equally nice.
JanetB , I find it fascinating how a song can sound one way when performed by one person/band, and entirely different when performed by others. Not just banjo/old time, but other types of music as well. I've mentioned this elsewhere, recently regarding Cluck Old Hen, a normally rather peppy tune, but if slowed and played in a lower key, can sound quite different.
Vester Jones - Cluck Old Hen (open G)
youtube.com/watch?v=oTtrKDwFXo8
Tom Collins - Cluck Old Hen (double C, I think, I started picking it out recently, even though I'm an eternal beginner)
youtube.com/watch?v=ZGPCt0f_JVQ
I love both, but if I had to choose, I'd opt for the slower, more mournful, meditative version by Tom. Maybe that's just because I'm getting older and see/hear things differently, from a different life perspective than when I was in my 20s and 30s.
I'm about 1/4 of the way through your Beautiful Doll, but I've been setting pavers recently. I'll probably work on the volunteer farm crew tomorrow and the volunteer trail crew the day after, but I'll surely work on it until I'm "finished". Since I play solo for myself, I tend to add pauses and whatnot wherever I feel like they should be, but your measured, even, on time, playing is more beautiful, in my opinion.
There are no jams near me, but I need to figure out how to play backup/chords and go to some. I doubt that Beautiful Doll will be on anyone's call sheet, but that's OK.
Edited by - reubenstump on 05/05/2026 10:22:08
quote:
Originally posted by reubenstumpSince I play solo for myself, I tend to add pauses and whatnot wherever I feel like they should be, but your measured, even, on time, playing is more beautiful, in my opinion.
There are no jams near me, but I need to figure out how to play backup/chords and go to some. I doubt that Beautiful Doll will be on anyone's call sheet, but that's OK.
I'm like you as to playing solo a lot, usually preferring the slowed-down sound. As for chords, I hear a mixolydian mode with either alternating G and F chords, or perhaps Dm instead of F. On banjo, I might eliminate the open B note of the G chord with a fretted 2nd string, 3rd fret (which may be called a G power chord). Adding chords to such a tune involved a personal decision-making process and has subtle effects to the feel of the melody.
quote:
Originally posted by reubenstump
Vester Jones - Cluck Old Hen (open G)
youtube.com/watch?v=oTtrKDwFXo8
Tom Collins - Cluck Old Hen (double C, I think, I started picking it out recently, even though I'm an eternal beginner)
youtube.com/watch?v=ZGPCt0f_JVQ
I love both, but if I had to choose, I'd opt for the slower, more mournful, meditative version by Tom. Maybe that's just because I'm getting older and see/hear things differently, from a different life perspective than when I was in my 20s and 30s.
Both an enjoyable listen. I wouldn't want to have to choose! I like the phrase "lyrical piece" I first heard Stephen Wade use. The Tom Collins version was lyrical, like a classical piece of music you'd hear at a concert hall.
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