Attached here is the set of handouts for January - March 2019 for the Intermediate Jam, which includes two versions of the song list that we will play from for the first half of the evening: a large print list that gives the names of the songs without the progression used to play them, and a smaller print version that includes the chord progressions for the songs. No changes have been made to the Basic Chord Progressions handout. The Nashville Number System chart included here is the same as the one that I have used for the past 2 years for the Intermediate Jam, and is more comprehensive than the Nashville Number System charts that are part of the Beginner Jam handouts.
There are 6 songs on the song list that were not on any of the main song lists for the Beginner Jams from 2017 to 2018. I intend on making each of these a song of the week within the next three months at the new Intermediate Jam
Cry, Cry Darlin'
Homestead On The Farm
Little Liza Jane
Turkey In The Straw
Have a merry Christmas and a happy New Year!
The song of the week is 'Silent Night' in the key of C.
Silent Night is played in 3/4 (waltz) time: 3 beats per measure; guitar rhythm = boom-chuck-chuck, i.e., bass note, strum, strum.
The first recording is to help with finding the melody of the song on your instrument. I suggest attempting to work with this (i.e., finding the melody by ear, either with or without the additional help provided by being able to see where the notes are being played on the keyboard: left = lower in pitch; right = higher in pitch) before taking a look at any of the melody sheets.
The next two recordings are examples of the song being played on bluegrass instruments. The final recording features harmony vocals.
Silent Night in C How to Play Melody on Keyboard
http://www.youtube.com/watch?v=IF1_FcdeDqY (the melody, as played on piano, key of C)
Blue Mountain Boys - Silent Night/JingleBells
http://www.youtube.com/watch?v=dDiJCb5vJZc (key of A)
Luke Lenhart Family and Friends -- "Silent Night"
http://www.youtube.com/watch?v=p7oUEpZHcaQ (key of G)
Reno & Smiley - key of Db (a half-step higher than C) - song starts at 5:13
The chord progression I use for Silent Night is:
In the key of C:
Banjo: to capo or not to capo
For banjo players, I recommend playing the song without a capo. This way all your melody notes can be found within the first five frets of the instrument. The highest note of the melody is the F note on the 3rd fret of the 1st string. The lowest melody note is the C note that results from tuning your 4th string down to a C. But, since this note occurs in the melody only once (at the very end of the form), and since it would make it inconvenient to get other parts of the melody if one were to tune the 4th string down to a C (C tuning), I recommend staying in G tuning and simply playing the last 2 notes of the melody (D note followed by a C note) an octave higher (i.e., open 1st string followed by 1st fret of 2nd string). The reason why I suggest playing the last 2 notes an octave higher, instead of just the very last note, is for no other reason than that it makes it less noticeable that one has jumped up an octave higher than where one would ordinarily expect the melody to be. If a banjo player were to capo on the 5th fret and play as if in G, then the highest melody note would be on the 15th fret of the 1st string! And there would be no melody notes on the 4th string. For banjo players who are unaccustomed to playing in the key of C without a capo, or are not quite sure what rolls, filler notes, or other Scruggs-style frills to put around the melody for playing a break for this song, I suggest just playing the melody as is for a break. (See the banjo tab melody sheet attached to this email.)
Guitar: to capo or not to capo
In contrast to what I recommend for banjo players, for guitar players who wish to work out a Carter-style break (i.e., strums added between some of the melody notes) for Silent Night, I suggest capoing to the 5th fret and playing as if in G. This way one can get all the melody notes on the 6th through 2nd strings - which tends to work better for most Carter-style breaks - instead of the 5th through 1st strings. But some may find it easier to play this type of break in the key of C without a capo, since all the melody notes can then be found within the first 3 frets instead of the first 4 frets. For this reason, in the attachments, I have included two guitar tabs of the melody, one in C and one in G.
In the mandolin tab of the melody attached here, the 3 lines written above certain (longer) melody notes indicate where one may wish to use tremolo as a way to embellish the melody.
The song of the week is 'Good King Wenceslas' in the key of G.
Here is a good bluegrass-style instrumental version of Good King Wenceslas:
Peter Schwimmer - key of G
I have not been able to find any good quality bluegrass versions of Good King Wenceslas with vocals, so, for a version with vocals to listen to, the following non-bluegrass version from the Irish Rovers will have to suffice as being close enough:
The chord progression I use for 'Good King Wenceslas' is:
1 1 4/5 1
1 1 4/5 1
1/5 1 4/5 1
5 1/5 1/5 1/4 1
(In the key of G: 1=G, 4=C, 5=D.)
Notice that the second line is the same as the first line, not only in terms of the chord progression, but also in terms of the melody (see the attached melody sheets). The chord progression for the third line is almost the same as the progression for the first and second lines. The fourth line can be a bit challenging to remember. It is a five measure line (like the last line of Leaning On The Everlasting Arms, and most of the lines of Wildwood Flower) that starts on the 5 chord, and in which the three middle measures of the line are split between two chords: 1 and 5 for the second and third measures of the line, and 1 and 4 for the fourth measure of the line.
The song has five verses and no chorus. At last night's jam, we played it as follows:
Except for the intro break, which I played on guitar, all the breaks were played as 'everybody' breaks, old-time style, instead of having each of the different types of instruments taking turns being featured. This worked quite well, and this is how I intend to arrange the song again at the jam next week.
If you have tried adapting Christmas carols to bluegrass, then you may have noticed that some carols adapt more easily and naturally than others. Like 'Away In A Manger', most of the ones in 3/4 time are good candidates for attempts to play them with a bluegrass feel; but of these, the ones that tend to adapt best have fewer melody notes (on average) per measure and fewer quick chord changes relative to the ones that don't adapt quite as easily. For example, Silent Night and It Came Upon The Midnight Clear are more 'bluegrass-friendly' than The First Noel and We Wish You A Merry Christmas.
The carols that are either in cut time (2/2) or in 2/4 (e.g., Jingle Bells, Good King Wenceslas) are natural candidates for being given a bluegrass treatment; while, on the other hand, most of the 4/4 carols (e.g., O Come All Ye Faithful, O Little Town Of Bethlehem) need to be converted to a cut time feel in order to be played as bluegrass songs; but this can be challenging to do if one is not yet very familiar with how this kind of conversion works, or if one has not heard enough examples of songs being played both ways.
The song of the week is 'Lonesome Road Blues' (a.k.a. 'I'm Goin' Down The Road Feelin' Bad) in the key of G.
Here is one of the first sung bluegrass versions of Lonesome Road Blues I remember hearing. It is a live recording of the Stanley Brothers, and it is played at quite a fast tempo:
The Stanley Brothers - key of G
Here is what is probably the most well-known instrumental bluegrass version of Lonesome Road Blues, played as a banjo-feature tune on the Flatt and Scruggs' album 'Foggy Mountain Banjo', and at a slower tempo than the Stanley Brothers' live version:
Flatt and Scruggs - key of G
Here is a sung version by Bill Monroe, the father of bluegrass music
Bill Monroe - key of C
Finally, another sung version in a live performance, by a young Japanese band. Since there are breaks in this version played on four different instruments - banjo, fiddle, mandolin, and guitar, and they are all really good, I was happy to come across this version on youtube.
Bluegrass Police - key of G
The chord progression used in the versions of Lonesome Road Blues on the recordings given here is the same one that I use when leading the song:
(Prog. W4 on the Basic Chord Progressions handout)
...though, I have heard it played at some jams with the last line played as 1511 (Prog. V4 on the Basic Chord Progressions handout), and/or with the third line played as 4416m.
Notice the Bb note in measure 2 of lines 2, 3, and 4 on the melody sheets attached here. Relative to the key of G, the Bb note is the b3 (flatted third scale degree). Together with the b7 (for the key of G, an F note), making good use of this note will often add a 'bluesy' characteristic to your playing.
Lonesome Road Blues is one of those small handful of songs that at a typical bluegrass jam it would not be out of the ordinary for it to be played either with or without singing.
Lonesome Road Blues is also one of those songs that may be sung either with or without a chorus. Other songs that have been played at the jam that are also like this include: Down The Road, Handsome Molly, Amazing Grace, and Little Birdie. When sung without a chorus, the set of lyrics that make up the chorus in the versions of Lonesome Road Blues that use a chorus will usually be sung as one of the verses in the song - usually as the first or as the last verse, or as both.
For most of the songs that may be sung either with or without a chorus, I tend to choose to sing them without a chorus when I lead them at a jam, and this is how I sing Lonesome Road Blues. This arrangement allows more time for a greater number of breaks to be played without making the song unusually long.
The song of the week is 'Leaning On The Everlasting Arms' in the key of A.
The Grascals - key of G
Solid Blue - key of B
I suggest first listening to, and playing and singing along with, the slower and simpler arrangement by the Grascals to get the basics of the song down pat, before moving onto Solid Blue's faster and more complex version. But, be sure to listen to Solid Blue's version, since their arrangement of the song comes much closer to how it has been played and sung at the jam.
The chord progression that is used on the Grascals' version of Leaning On The Everlasting Arms is:
(In the key of A: 1=A, 4=D, 5=E; In the key of G: 1=G, 4=C, 5=D; In the key of B: 1=B, 4=E, 5=F#.)
The progression is a bit unusual when compared with the progressions for most of the other 1-4-5 type songs that are regularly played at the jam. The 5 chords all occur a measure later than what one would ordinarily expect to be the case.
For this reason, both lines 2 and 4 are often played as 5 measure lines in bluegrass versions of the song. This is how it is played on Solid Blue's version of the song, so as to allow for 2 measures of the 5 chord in line 2 (11155) and 2 measures of the 1 chord at the end of line 4 (11511), since this allows for fillin licks to be played by the instruments since a pause is thereby created in the vocal before the next line starts.
The pauses in the vocal that result from adding the extra measures also allow the singers a moment to catch their breath in preparation for the next line. The faster the song is played and sung, the more desirable it becomes to put in these extra measures.
The way that I like to play the song is to keep line 2 as a 4- measure line, while extending line 4 to being a 5-measure line. The resulting progression is:
This is how we played the song last night, and is how we'll play it when I lead it this coming Wednesday. So, when two or more breaks occur back to back, keep in mind that we are using a 17 measure form for the song instead of a 16 measure form; otherwise, the beginning of your break (especially if you play pickup notes into your break) will overlap with the fillin licks that others may be playing at the very end of their break (or at the end of the chorus that occurs before your break).
Notice that in Solid Blue's version, harmony is sung not only on the choruses, but also on the repetitive parts of the verses: i.e., lines 2 and 4 ('leaning on the everlasting arms').
Also ,notice that in the same version, on lines 1 and 3 of the chorus, the lyrics for the harmony parts are not the same as the lyrics for the lead part. While the lead singer sings: 'Leaning, leaning', the harmony singers sing: 'Leaning on Jesus, leaning on Jesus'. Rhythmically, the way this lines up is as follows:
Lean - / ing / lean - / ing
Lean - ing on / Je - sus / lean - ing on / Je - sus
This is the way I like to hear the song sung when I lead it, and everyone at last night's jam who participated in singing harmony on the song at the end of the night did a great job on this, so I am especially looking forward to leading the song next week as the song of the week.
In case you have difficulty catching this from the recordings, the lyrics for line 2 of the chorus are: 'safe and secure from all alarms'.
Leaning On The Everlasting Arms has a particularly strong melody line. For songs like this, one should be careful about when and how one deviates from the melody when playing a break for the song. You might notice in the breaks on the recordings that deviations from melody-based playing are less frequent than what has often the case in breaks on the recordings for other previous beginner jam songs of the week.
For beginner level players, I advise them to base their breaks squarely upon the melody. (For help with finding the melody on your instrument, see the attached melody sheets.) This does not mean playing nothing but the melody: by all means one should put the usual frills around the melody notes that are typical in Bluegrass breaks to the extent that one knows how to use them: stuff like (depending on which instrument you are playing): double stops, slides, shuffle rhythms, fillin licks, rolls, hammer-ons, and pull-offs.
Notice on the recordings, that in the few spots where the players deviate from melody-based playing in their breaks in favor of lick-based playing, they do not linger on any one note for any length of time. Rather, in those spots, they play a rapid flurry of notes. The second half of the guitar break on the Solid Blue recording, for instance, consists mostly of eighth notes. The same is true of the last line (last quarter) of the fiddle break on the Grascals recording. In a song with a strong melody, dwelling on a non-melody note will sometimes work in a break, but more often it will sound out of place in the song.
The song of the week is 'Clinch Mountain Backstep' in the key of A.
'Clinch Mountain Backstep' is a bluegrass banjo tune composed by Ralph Stanley (Feb. 25, 1927 - June 23, 2016), who until his recent passing, was the last surviving of the great first-generation pioneers of bluegrass banjo playing.
(Ralph Stanley is the only first-generation bluegrass artist that I have met in person; I met him twice: once at a concert in a school gymnasium in Sedro Woolley, Washington when I was about 15 or 16 - after his concert, I played our current song of the week in his presence on a banjo he had with him for sale - and then again he spoke with me in 2004, during breakfast at the hotel that both of us were staying at for the Ann Arbor Folk Festival. Our conversation started by way of Ralph asking me questions about some of the other bands and artists playing at the Festival.)
There is a good documentary on Ralph Stanley available on youtube that is well-worth watching:
Ralph says that he came up with 'Clinch Mountain Backstep' by combining 'Cluck Old Hen' with 'Liza Jane'.
Here is my favorite of Ralph's studio recordings of Clinch Mountain Backstep:
Ralph Stanley - key of A
...and, when he was a bit younger, when his older brother Carter was still alive, here is Ralph playing Clinch Mountain Backstep on a live TV show:
The Stanley Brothers - key of A (no breaks on any other instruments, all banjo).
There are no mandolin, guitar, or dobro breaks in the preceding renditions of the tune. Here is one which has all three:
Blue Highway - key of A: live performance
The chord progression for the A-Part is:
The chord progression for the B-Part is the same, except that there is an extra 'half-measure' of the '1' before the first '5'. If one is counting the beats in the first line of the B-Part in cut common time (2/2), one would count it as: 1,2,1,2,1,2,1,1,2.
(On the sheet music attached here, I have written the first line of the B-Part as 3 measures in 2/2, followed by a measure in which the time signature changes to 1/2, followed by a measure that returns to 2/2.)
Melody & Key
Although the melody of Clinch Mountain Backstep consists only of the notes of the Am pentatonic scale, it is called at jams in A (Major) rather than Am because the '1' chord that is used in the chord progression for the song is an A Major Chord rather than an Am Chord ('1m'). To call Clinch Mountain Backstep in A Minor instead of in A (Major) at a jam would imply that 1m Chords are to be played in place of 1 Chords.
In the attached melody sheet for Clinch Mountain Backstep, I have used the key signature for Am (no sharps or flats, same as the key signature for C Major, the Relative Major of Am) instead of the key signature for A Major (3 sharps) to avoid the need to write natural signs in nearly every measure. I hope that my doing this makes the sheet music easier to read than if I had used the key signature for A Major.
The notes that make up the Minor Pentatonic Scale, or as I like to call it sometimes 'The Clinch Mountain Scale', are: 1, b3, 4, 5, and b7. Remember these notes, for these will be useful to know not only for playing 'Mountain Minor' tunes like 'Clinch Mountain Backstep' and 'Cluck Old Hen'. Any time when you wish to add a 'bluesy' element into a break or backup part for a Major key song, just remember to play your 'Clinch Mountain notes'.
To see what these notes are for A (or for any other key for that matter: G is an especially practical place to start for this if you are a banjo or guitar player who usually plays in A by way of capoing the 2nd fret of your instrument), refer to the Nashville Number System Chart in the attachments.
For more on the Am and Gm pentatonic scales, refer back to the song of the week write-up for 'Cluck Old Hen'. The first five paragraphs under the section 'Melody & Breaks' may be read as though written about Clinch Mountain Backstep instead of Cluck Old Hen.
Relative Majors & Minors
If you have ever played the melody for Will The Circle Be Unbroken, Amazing Grace, My Home's Across The Blue Ridge Mountains, Shortnin' Bread, Swing Low Sweet Chariot, or Camptown Races, or any other melody that uses only 1, 2, 3, 5, and 6 notes (Major Pentatonic Scale), then you are already familiar to a certain extent with the combination of notes that make up the 'Clinch Mountain Scale', although those melodies sound very different than the melodies for Clinch Mountain Backstep and Cluck Old Hen.
Notice, for instance, that 1, b3, 4, 5, b7 for E (E,G,A,B,D) are the very same notes as 6, 1, 2, 3, 5 for G. G is the Relative Major of Em.
Every Minor has a Relative Major. To find the Relative Major of a Minor, treat the b3 of the Minor as the 1 for the Major. (Thus, C is the Relative Major of Am - one uses the same notes for playing the melody of Will The Circle Be Unbroken in C as one does for playing the melody of Clinch Mountain Backstep in A; Bb is the Relative Major of Gm, etc.)
Going in the opposite direction, that is, to find the Relative Minor of a Major, treat the 6 of the Major as the 1 for the Minor. (So, Am is the Relative Minor of C, Em is the Relative Minor of G.)
The song of the week is 'Sweetheart, You Done Me Wrong' in the key of C.
This song was written by Bill Monroe and Lester Flatt, and was recorded in 1947 by the original bluegrass band, Bill Monroe and the Bluegrass Boys, which at that time consisted of: Bill Monroe on mandolin. Lester Flatt on guitar, Earl Scruggs on banjo, Chubby Wise on fiddle, and Howard Watts on bass. On this song, as on most of the songs that Bill Monroe recorded with this lineup, Lester sings lead, and Bill sings the tenor harmony, i.e., the harmony part that is pitched directly above the lead part.
Here is a link to the 1947 recording: key of D
Bill Monroe & His Blue Grass Boys - Sweetheart, You Done Me Wrong
Recorded and released in 1947 (Columbia 20423). Written by Bill Monroe & Lester Flatt. Lead vocals: Lester Flatt ----- Tenor: Bill Monroe.
The chord progression and the melody for this song are both very simple. It is the same chord progression that is used for 'Blue Ridge Cabin Home', which is regularly played at the jam, and for many other standard bluegrass songs.
played through twice for a complete verse, or a complete chorus.
In the key of C: 1=C, 4=F, 5=G.
In the key of D: 1=D, 4=G, 5=A
The melody consists of only 5 notes. In the key of C, these notes are, from lowest to highest, G, A, B, C, and D. In the key of D, these notes are: A, B, C#, D, and E. Many of the melody notes are lingered on for a good length of time, so this song could make a good place to start for learning to pick up melodies by ear, and/or to make a first attempt at singing harmony.
Feel and Tempo
As you listen to the recording, pay close attention to the feel of the song, before making an attempt to play along with it. Because the song has a different feel to it than most of the songs we play at the jam, I strongly recommend playing along with the recording after having listened to it a few times through. It is a slow song (about 84 beats per minute on the recording), and, at the jam, I may choose to play it even slower than the speed it is at on the recording.
Be careful not to push the beat on this song - be mindful of this when practicing along with the record: otherwise it will tend to end up gravitating too much towards the tempo ranges that we play a lot of other songs at the jam, and, at the same time, will lose its distinctive feel. If you are a guitar or a bass player, it may help you to maintain the right feel on this song if you dig in a bit more deliberately than usual into the first bass note you play in each measure while playing rhythm. Breaks (on all instruments) will also tend to work better for this song if one accents a little heavier than usual your first note at the beginning of every odd numbered measure, and additionally, also if one accents a little more than usual the last note of a fill-in lick coinciding with the beginning of an even numbered measure.
On the record, the breaks within the body of the song are only half the length of a verse, and the intro break is even shorter than that. At the jam, however, we will play full-length breaks (i.e., breaks that last the same length of time as one verse, in this case, as in most other songs sung at the jam, this is 16 measures).
Note to Mandolin Players
If you are a mandolin player, and you have found yourself copying the non-melody based break that Bill Monroe plays after the 2nd chorus of the song, and you wish to use it as part of a full length break for the song at the jam, something you might try doing is to play the first half of your break in a melody-based manner, and then, for the second half of your break, play along the lines of how Bill plays it on the record. Transposing from D (the key that the song is played in on the recording) down to the key of C involves lowering the notes a whole step, which is the equivalent of 2 frets.
Note to Banjo Players
While many banjo players will tend to capo to the 5th fret when a song is called in the key of C, I suggest trying to play this song without a capo. If you are a banjo player who has little or no experience playing in C without a capo, this song, because of its slow tempo, simple chord progression and melody, can make for a good place to start to learn to play in C without a capo. After having worked out the song in C, then, if you wish to play along with the recording in D, all you need to do is the same thing that you would ordinarily do for playing in the key of A, namely, capo to the 2nd fret and spike, capo, or tune up your fifth string to an A note.
The song of the week will be 'In The Sweet By And By' in the key of G.
Sacred songs, in many cases taken directly from old Baptist, Methodist, and Presbyterian hymnals, occupy a prominent place in the Bluegrass music tradition. They make up one of the largest single categories of songs in the genre.
It is common for Bluegrass bands at all levels (ranging all the way from hobby bands to top-notch professional touring bands) to record entire albums consisting of nothing but sacred songs, and many of the biggest names in Bluegrass have recorded several of these. There are even some Bluegrass bands that specialize in 'Bluegrass Gospel' to the total, or almost total, exclusion of other categories of songs. (The very first hobby Bluegrass band that I was part of when I was in my early teens was one of those types of bands.) Most of the bands that I played with during my teen years, in doing the Summer Bluegrass festival circuit in BC, needed to have at least 45 minutes worth of this type of material in their repertoire, so that they would be able to play a Bluegrass Gospel set when scheduled to perform on a Sunday morning at a festival.
Many of the first-generation Bluegrass pioneers learned the fundamentals of music, including how to sing, in church. It was therefore quite natural that they would adapt some of the songs they knew from church to the new genre of music they were creating.
I associate 'In The Sweet By And By' with weekend afternoon jams with friends, late night jams around campfires at Bluegrass festivals, and impromptu live performances much more so than with any particular studio recording of the song by a well-known Bluegrass artist. For that reason, the first youtube link I present below is that of such an impromptu live performance of the song.
Slope Valley and Palmetto Blue: Key of G:
Notice that on the last 2 choruses the lead singer drops down to the baritone harmony part. This part is quite audible and straightforward (no unusual note choices) and therefore a good place to learn the baritone harmony from.
I have also included in the attachments ('03 Track 3') a recording (from 2006) of 'In The Sweet By And By' (key of D) that I played banjo on, in which the band consisted of people that I used to jam with at Bluegrass festivals. In accord with the wishes of the leader of the band 'String Lizzy' (who kicks off the song on the mandolin at a somewhat faster tempo than what the song is customarily played at - but the tempo choice is well-suited to her straightforward playing and singing style - and sings lead on the song, and mostly in German), we recorded the album by standing in a circle around a few mics in the middle of the circle, to make it feel as much like a jam as what is possible in a recording studio session. Many of the songs that ended up on the album were done in just one take.
Notice the similarities in the vocal arrangement on the first youtube link with the following non-bluegrass arrangement ('call and response' arrangement for the chorus, for instance) that is along the lines of the type of church singing that most of the first-generation Bluegrass artists were familiar with from their childhood:
Primitive Baptist accapella arrangement:
In addition to my own handwritten melody sheets for the song in the attachments, here is a link to sheet music from a hymnal that shows three harmony parts together with the melody. The melody is the higher of the pairs of notes that are on the top staff (written with the treble clef); what we call the baritone harmony in Bluegrass is the lower of the pairs of notes on that staff. (If you have a really high voice for Bluegrass, you may raise each of these lower notes an octave higher to create what is called the 'high baritone' part.) The higher part on the bottom staff (written with the bass clef) is what we call the tenor, or the low tenor in Bluegrass depending on whether one sings it in the octave that makes it higher or lower than the melody; and the lower part on that same staff is the bass harmony part. If you are not familiar with reading music written with the bass clef, move each note the equivalent of one line/space higher on the staff so that it can be read as if written with the treble clef, and then, if desired, drop each note an octave lower.
Although we will only play breaks over the verse progression, I have written out both the verse and the chorus melodies in the attachments. The song has such a strong melody and I find it quite satisfying to play as an instrumental banjo, mandolin, or guitar tune in which my playing stays very close to the melody, embellished by little more than slides and hammer-ons into the most important melody notes, rolls ( on banjo) or crosspicking (on guitar) around the melody, or double stops (on mandolin and guitar) to harmonize certain parts of the melody. I thought that perhaps some of you would like to have the chorus melody included on the melody sheets for the same reason.
Finally, here is a good professional bluegrass studio recording of 'In The Sweet By And By':
Bluegrass Martins: key of C
The song of the week is 'Angeline The Baker', a key of D fiddle tune.
Alison Krauss (starts at about the 4 minute mark)
Form & Progression
Angeline The Baker is a standard length AABB fiddle tune. By that, I mean that each part of the tune is 8 measures long, and that there are two parts to the tune, called the A-Part and the B-Part respectively. Each part is played twice before going on to the next part. So this means that each break for the tune is 32 measures long. (8x4) Other tunes on the current song lists for the beginner jam that have this same form are: Liberty, Old Joe Clark, Soldier's Joy, Boil The Cabbage Down, and Buffalo Gals.
The chord progression is the same for both parts of Angeline The Baker:
In the key of D: 1=D, and 4=G
There is no standardized order in which the two parts of the tune are played.
When asking the person leading the tune which part they intend to start with, it does no good to ask: Do you start with the A-Part or the B-Part?, because whichever part is played first is, by definition, the A-Part, and whichever part is played second is, by definition, the B-Part. However, the two parts can be distinguished from one another by calling them the low part and the high part. Like most AABB fiddle tunes, one part of Angeline The Baker starts on a higher note than the other part, and is overall higher in pitch than the other part.
When I call Angeline The Baker at a jam, I almost always start the tune with the high part. For this reason, in the melody sheets attached here, the high part is written as the A Part and the low part is written as the B Part.
Since the chord progression is the same for both parts of 'Angeline', and since, in Bluegrass jam arrangements of this tune (as distinguished from Old Time arrangements), it is usually only one person who plays the lead at a time, the need will rarely arise at a bluegrass jam to know in advance which part the leader intends on starting with. This is just as much the case at our beginner jam: for even though we do collective breaks in which all instruments of the same kind play their breaks at once, the person who starts the tune off gets to play through the form once (AABB) with no one else playing a break along with him. (During the first pass through the tune, everyone else besides the person who kicked off the tune should be playing backup.)
Nevertheless, it is important to pay attention to which part the tune starts with, the lower part or the higher part, for each person who does a break on the tune will be expected to play the parts in the same order as the person who kicked off the song. This is standard practice in bluegrass jams, and this procedure helps to minimize confusion.
The chord progression is unusual for bluegrass in that it does not have a 5 chord. In the key of D, this means that there is no A chord.
Concerning the attached melody sheets
Some guitar players prefer to play 'Angeline The Baker' without a capo, whereas others prefer to play it with the capo on the 2nd fret and then play it as if in the key of C (In the key of C: 1=C, and 4=F) The same is true of 3 finger-style banjo players, except that they will usually have their 5th string tuned up to an A note (spiked or capoed at the 7th fret) regardless of whether they have a capo on the 2nd fret of their four long strings. I have included in the attachments, guitar and banjo tabs of the melody of the tune written in both the key of D and in the key of C. You might wish to try it playing it both ways, and see which way you like best.
You might notice that there are fewer notes on the banjo tabs than on the rest of the melody sheets. The reason for this is because most Scruggs-style banjo players tend to choose to play other notes in place of the melody notes in these spots that are more convenient to grab in the context of one of the standard picking patterns (rolls) that characterize Scruggs-style playing, but the exact choice of notes in these spots differs from player to player. A similar thing tends to be true also of Clawhammer banjo arrangements of Angeline The Baker.
The basic melody for Angeline The Baker is pentatonic. That is, it consists of 5 notes: major scale degrees 1,2,3,5, and 6. In the key of D, that means it consists of the notes D, E, F#, A, and B. (In the key of C, the five notes of the major pentatonic scale are: C, D, E, G, and A.)
The range of 'Angeline' is relatively narrow for a fiddle tune. The range spans exactly one octave. The lowest note is the 5th scale degree (A), and the highest note is the 5th scale degree an octave higher (A). So, in ascending order of pitch, the notes are 5,6,1,2,3,5: A,B,D,E,F#,A. (In 'C', those notes would be instead: G,A,C,D,E,G.) The range of the low part is even narrower than that. Its highest note is the 3rd scale degree (F#).
Tunes with such a narrow range can easily be played in two different octaves on fiddle, mandolin, and guitar (this is not so much the case with banjo). For, these three instruments each have 'A' notes in three different octaves that can be found on the instruments within the first five frets (or, on fiddle, in 'first position'). Most guitar, mandolin, and fiddle players who learn to play Angeline The Baker learn to play it in the higher of the two readily accessible octaves. For those of you who already play the tune, you might try working out a break an octave lower than how you usually play it, as a variation to have up your sleeve when, at a jam, you get called on to play more than one break during the tune. Or, since we do collective breaks at the beginner jam, where all the fiddle players play their breaks at the same time, all the mandolin players play their breaks at the same time, etc., if you have worked out a break in the lower octave, it can be effective to play this while someone else is playing their break in the higher octave. For this reason, I have included in the attachments melody sheets in both octaves for fiddle, mandolin and guitar.
One final point about the tune. Unlike most tunes, the last note of the melody does not have the same letter name as the key the tune is played in. Instead of ending on a 'D' note (the 1st scale degree), each part of Angeline ends on an 'A' note (the 5th scale degree), the lowest note of its range.
Angeline The Baker - banjo tab in C
Angeline The Baker - banjo tab in D
Angeline The B. - guitar tab, C, high octave
Angeline The Baker - guitar tab, C, low octave
Angeline The B. - guitar tab, D, high octave
Angeline The Baker - guitar tab, D, low octave
Angeline The B. - Mandolin tab, high octave
Angeline The B. - mandolin tab, low octave
Angeline The Baker - melody in D, high octave
Angeline The Baker - melody in D, low octave
The song of the week is 'We'll Meet Again Sweetheart' in the key of Bb.
Flatt & Scruggs - key of B (instruments tuned up a half step higher than standard)
This was the first song that Flatt and Scruggs recorded together after leaving Bill Monroe's band. (Lester Flatt on guitar and lead vocal, Earl Scruggs on banjo, Jim Shumate on fiddle, Howard Watts, a.k.a. Cedric Rainwater on upright bass, and Mac Wiseman on guitar and tenor harmony vocal.) It is one of 28 songs that Flatt & Scruggs recorded together on Mercury Records between 1948 and 1950. To listen to the complete collection of 'the Mercury Sessions' refer back to the intermediate jam song of the week write up for 'Why Don't You Tell Me So': https://www.idahobluegrassassociation.org/intermediate-jam/category/why-dont-you-tell-me-so
Parmley & McCoury - key of B
This is the first version of 'We'll Meet Again Sweetheart' I heard when I was just beginning to get into Bluegrass. This record (in the form of a cassette tape I bought at a Bluegrass Cardinals concert) has been in my collection since 1992, and was a big influence on my playing. From the same album, check out the following songs. This is really high quality Bluegrass well worth taking the time to listen to (over and over) and absorb.
Roll On Buddy - key of B
I'm Going Back To Old Kentucky - key of A
Swing Low, Sweet Chariot - key of B
Down The Road - key of B
I'll Drink No More Wine - key of G
Smoke Along The Track - key of A
I Hear A Sweet Voice Calling - key of E
We'll Meet Again Sweetheart uses the same progression that is used to play 'Blue Ridge Cabin Home' and 'Sweetheart You Done Me Wrong':
(Prog. W8 on the Basic Chord Progressions chart.)
Key of Bb Review
In the key of Bb: 1=Bb, 4=Eb, 5=F
The notes that make up the Bb chord are Bb, D, and F.
The notes that make up the Eb chord are Eb, G, and Bb
The notes that make up the F chord are F, A, and C.
Together, these notes form the Bb Major Scale: Bb, C, D, Eb, F, G, and A.
If you are fiddler or a mandolin player, and you already play songs or licks in the key of F, then, provided that these songs or licks do not require using the 4th string, you can take your same fingerings for F and move them all one string lower in pitch, and you will thereby be playing in Bb.
For playing chop chords on the mandolin that use no open strings, if you move the chords shapes you use for playing in the key of A up by one fret, this will put you in the key of Bb.
For playing in the key of Bb, bluegrass banjo and guitar players almost always capo to the 3rd fret, so that they can use the same fingerings that they would use for playing in the key of G. (In the key of G: 1=G; 4= C; 5=D.)
Here are the corresponding notes of the G and Bb Major Scales:
1 2 3 4 5 6 7
G, A, B, C, D, E, F#
Bb,C,D,Eb,F, G, A
Banjo players will need to raise the pitch of the fifth string to a Bb note (registers as A# on most tuners). This is done by capoing (with a 5th string capo, or 8th fret spike) the 5th string at the 8th fret. For banjo players who do not have a fifth string capo or an 8th fret spike (that includes myself), spike the 5th string at the 7th fret, and then tune it up a half step to a Bb (A#) note. This is best done by ear by playing the 5th string with the thumb while playing the 3rd string with the index finger, turning the 5th string tuning peg slowly until the 5th string sounds harmonious with the 3rd string.
When playing up the neck on banjo in the key of Bb (capo 3, playing as if in G), you may find it helpful to use your 10th and 15th fret markers as your primary points of reference.
The melody of We'll Meet Again Sweetheart uses all 7 notes of the Major Scale, with the lowest note being, in Nashville Numbers, the '5' below the '1' (F note in the key of Bb; D note in the key of G). and the highest note being the '4' above the '1' (Eb note in the key of Bb; C note in the key of G).
One characteristic feature of the melody of this song is how often and how long the melody lingers on the 3rd of each chord (i.e., in the key of Bb: D notes during Bb chord measures, G notes during Eb chord measures, and A notes during F chord measures. In the key of G, the corresponding notes and chords are: B notes for G chord measures, E notes for C chord measures, and F# notes for D chord measures).
Another feature of the melody (at least the way I sing it, as reflected in the attached melody sheets) is the unusually wide intervals between some of these 3rds of each chord and the note that immediately precedes them. This occurs, for instance, at the end of measure 2 going into measure 3, where the melody abruptly descends from the 3rd of the 1 chord to the 3rd of the 4 chord, and in measure 6, where the melody abruptly ascends from the root of the 5 chord to 3rd of the 1 chord in anticipation of the upcoming chord change from the 5 back to the 1. This feature of the melody severely limits the range of keys in which I can feel comfortable singing the song in.
Jason's Beginner Jam Blog 2017 - 2018
Songs regularly called at the Beginner Bluegrass Jam and links from Jason's "Song of the Week" emails. (from Renee)
in alphabetical order