Hi, 
The song of the week is 'Liberty' in the key of D.


Recordings
Flatt & Scruggs with Doc Watson 
https://www.youtube.com/watch?v=4ugu-QwHWaA

Midwest Banjo Camp 2013: Bill Keith, Tony Trischka, Greg Cahill, Alan Munde, Ken Perlman, Brad Leftwich, Bill Evans, Janet Beasley, etc.
https://www.youtube.com/watch?v=bE-2NO7WbhE

Byron Berline & John Hickman
https://www.youtube.com/watch?v=dsbIoPhwG5U


Progression
A-Part: 1144
            1151

B-Part: 1115  (Prog. Z1 on the Basic Chord Progressions Chart.)
            1151

Notice the difference between the progression for the B-Part of Liberty (Z1)
and the progression for the A-Parts of Soldier's Joy and Old Joe Clark (Y1):

1    1    1    5
1    1    1/5 1


Lilt
Despite how they look when written on paper, and what their name implies, a string of consecutive 8th notes should not all be given equal time value when playing most Bluegrass breaks. Rather, they should usually be swung, so that the first 8th note in each pair of 8th notes lasts a bit longer than one-eighth of a measure, stealing time value from the second 8th note in the pair, which in turn takes up a bit less than one-eighth of the measure. The slower that consecutive 8th notes are played, the easier it is to detect whether they are being played in this manner (long-short-long-short, etc., often called 'lilt' or 'bounce'). To hear more clearly what this sounds like, slow down the youtube links provided here to half speed. To do this, click on settings, then click on speed, then click on 0.5. 


Melody
As is the case with most traditional fiddle tunes, there are many versions and interpretations of the melody of Liberty, but most versions one will come across online (whether written or recorded) are compatible with the interpretation of the melody I have offered in the attachments.


Guitar & Banjo Tabs
With ease of left hand fingering in mind, I have written the guitar and banjo tabs for Liberty in C instead of D. So, guitar and banjo players playing breaks based upon these will need to capo the 2nd fret to raise their playing up from the key of C to the key of D, and will need to make it a point to remember that Liberty is a 'D' tune, not a 'C' tune. 


Banjo Melody Tab
The banjo melody tab in the attachments is not intended to be played as written for a banjo break, but is intended to serve as a guide for creating a Scruggs-style break. For tunes with fast-moving melodies like Liberty, Scruggs-style players tend to incorporate only as much of the melody into their breaks that is needed in order for the tune to be recognizable, and replace the rest of the melody with strategically selected filler-notes.that are compatible with the chord that is called for at the time, and that allow the player to make use of the right hand picking patterns that are typical of the style. In the attachments, I have provided examples of how a Scruggs-style player, using the melody sheet as a guide and following the basic principles of Scruggs-style, might choose to play the first two measures of the A Part and the first two measures of the B Part.


Note to Clawhammer Banjo Players
Clawhammer banjo players usually tune their banjos to double C tuning (GCGCD) for playing Liberty, and then capo the 2nd fret to raise their playing up to D. When tuned this way, in order to make use of the banjo melody tab provided here, one will need to add 2 to the numbers shown on the tab for the 4th string, and subtract 1 from the numbers shown on the tab for the 2nd string. (In the case of the open 2nd string notes shown on the tab, the 4th fret of the 3rd string will need to be used in their place.)

By transferring some of the melody notes shown on the first string in the tab to the 2nd string (and by transferring also the open 2nd string note to the 4th fret of the 3rd string), it is feasible, with the help of drop-thumb, hammer-ons, and pull-offs, for a clawhammer player to grab almost every melody note. However, most clawhammer players take a similar approach to Scruggs-style players in being selective about which melody notes to include in their playing of the tune, substituting filler notes in place of some of the melody notes in ways that allow them to make more use of the picking patterns typical of clawhammer style than what would be the case if they were to try to grab as much of the melody as possible.


8 Potato Intros 
Since there is nothing more effective for kicking off most fiddle tunes at a bluegrass jam than 8 Potato Intros, I have included examples of these in the attachments for each of the 4 primary lead instruments played at the beginner jam: fiddle, mandolin, guitar, and 3-finger style banjo. Players of other instruments/styles can get ideas from these examples, and/or by listening to the 4 Potato intro on the Flatt & Scruggs recording of Liberty, for what to do on their instruments for an 8 Potato intro. 

Notice that the last (4th) measure of the 8 Potato Intro includes the two pickup notes (or in the case of the banjo tab, just one pickup note) that lead into the first complete measure of the A Part of Liberty. If there were no pickup notes into the A Part of Liberty, then all 4 measures of the 8 Potato Intro would be identical with each other. This is important to keep in mind when kicking off fiddle tunes with an 8 Potato Intro. For, if one does not start into the melody at exactly the right time, then the 8 Potato Intro fails to serve its purpose. 

Double Endings
I have also included in the attachments examples of double endings suitable for Liberty for the four primary lead instruments played at the jam, since it is customary at bluegrass jams to end fiddle tunes (and certain other types of instrumentals) with these kinds of endings. 

When playing these endings, it is important to make sure that they start at exactly the right time relative to the end of the final B Part. The incomplete last measure on the melody sheets (2nd ending of the B Part) needs to be completed either by a quarter note rest, or by changing the last note from a quarter note to a half note before the first note of the double ending starts. 

Since the last break played for Liberty at the jam will usually be an 'everybody' break, it makes sense for everyone who played that break to also play the double ending together. 

Those not playing the double ending should stop playing after the last note of the final B Part has been played, and then prepare themselves to do one final note, double stop, or strum that will coincide with the last note of the double ending. In order for them to be able to do this, and to do this confidently, it is important that those playing the double ending play it clearly and with the correct timing.


Song List
17 songs were played at last night's jam: 14 from the main list, 2 from the additional songs list, and 1 that is on neither list

Angeline The Baker - D
Buffalo Gals - A
Bury Me Beneath The Willow (played twice) - G & Bb
Cripple Creek - A
Foggy Mountain Top - G
In The Pines - E
Liberty - D
A Memory Of You - A
New River Train - F
Old Joe Clark - A
Soldier's Joy - D
Sweetheart You Done Me Wrong - C
Way Down Town - E
Will You Be Loving Another Man - G
Ain't Nobody Gonna Miss Me When I'm Gone - A
Boil The Cabbage Down - A
She'll Be Coming Round The Mountain - A

Happy Pickin',
Jason

Hi,
The song of the week is 'New River Train' in the key of F.


Recordings
The Monroe Brothers - key of D
https://www.youtube.com/watch?v=NyWMFjly24o

Tony Rice and Norman Blake -  key of D
https://www.youtube.com/watch?v=Y36HCn4Ivws

The White Brothers - key of E
https://www.youtube.com/watch?v=0eLjdbN1xdg

Roland White - key of E (New River Train ends at 2:28)
https://www.youtube.com/watch?v=6EZCsTzPb2k


Progression
The chord progression for New River Train is:

1111
1155
1144
5511

This is Prog. W2 on the Basic Chord Progressions handout.

In the key of F: 1=F, 4=Bb, 5=C.
In the key of E: 1=E, 4=A, 5=B.
In the key of D: 1=D, 4=G, 5=A.
In the key of C: 1=C, 4=F, 5=G.
etc.

This chord progression differs by only one measure from the progression that is used to play 'Mama Don't Allow', 'She'll Be Coming Round The Mountain', 'When The Saints Go Marching In', 'Will You Be Loving Another Man', etc.:

1144
1155
1144
1511
(Prog. V2 on the Basic Chord Progressions handout.)

In order to avoid accidentally playing Progression V2 in place of Progression W2 for New River Train at the jam, some may find it helpful to remind themselves before the song starts that in the last half of the progression for New River Train the 4 chord is followed immediately by the 5 chord (instead of returning to the 1 chord first before going to the 5 chord).   

​
Capo Chart for Guitar and Banjo
                      1        5         Guitar & Banjo                        Banjo 5th string tuned to

Key of G      G       D          No capo, play in G                  G
Key of A       A       E         Capo 2, play as if in G             A  
Key of Bb     Bb     F         Capo 3, play as if in G            Bb (=A#)
Key of B       B       F#       Capo 4, play as if in G             B
Key of C       C       G         No capo, play in C                   G
                                          or Capo 5, play as if in G          C
Key of D       D       A         Capo 2, play as if in C              A
                                           or No capo, play in D               A
Key of E        E       B        Capo 4, play as if in C               B
                                           or Capo 2, play as if in D          B
Key of F        F       C         Capo 5, play as if in C              C   
                                           or Capo 3, play as if in D          C

For beginner level banjo players, I recommend the 'Capo 3, play as if in D' option for playing New River Train in the key of F. This is why the banjo tab melody sheet in the attachments is written in the key of D.

For guitar players who like to play Carter-style breaks (i.e., melody carried on the lower-pitched strings of the guitar, with strums placed between melody notes: e.g., Tony Rice's opening break on the Blake & Rice recording given here), I recommend the 'Capo 5, play as if in C' option for playing New River Train in F. I have included guitar tab melody sheets in the attachments written in both C and D.

(For a clearer recording of Tony's intro break, check out:
https://www.youtube.com/watch?v=aU5vOsAwIYU  

Note for Banjo Players: Tuning the fifth string up to A, Bb, B, and C notes is usually done with the help of either a 5th string capo or spikes. For the A note, the 5th string is capoed or spiked at the 7th fret. For the Bb note, the 5th string is capoed or spiked at the 8th fret. For, the B note, the 5th string is capoed or spiked at the 9th fret. For the C note, the 5th string is capoed or spiked at the 10th fret. For banjo players who use spikes but, like me, do not have 8th and 10th fret spikes, for the Bb note, spike the 5th string at the 7th fret and then manually tune it up a half step to a Bb (A#) note, and for the C note, spike the 5th string at the 9th fret and then manually tune it up a half step higher to a C note. 

Caution: If you try to tune the 5th string up to B and C notes without the help of spikes or a 5th string capo, don't be surprised if the string breaks. Even tuning the 5th string up to A and Bb notes without the help of a spike or a 5th string capo can be risky, especially if your strings are old. Also, tuning one string up manually a whole step or more will put the other four strings out of tune enough on most banjos that you will likely need to retune all five strings in order to be reasonably in tune.


Key of F: Tips for Fiddle & Mandolin Players
Some may find it helpful to think of a less familiar key in relation to a more familiar key. One way of approaching playing in F is to think of the key of F in relation to the keys of C and Bb. F and C are closely related keys: they share 6 of their 7 Major Scale notes in common:

F Major Scale:  F, G, A, Bb, C, D, E (6 naturals, 1 flat)
C Major Scale: C, D, E, F, G, A, B (7 naturals, 0 flats)

F and Bb are also closely related keys: they also share 6 of their 7 Major Scale notes in common:

F Major Scale:     F, G, A, Bb, C, D, E  (6 naturals, 1 flat)
Bb Major Scale: Bb, C, D, Eb, F, G, A  (5 naturals, 2 flats)

The same is true of any two keys that are separated from each other by an interval of a perfect 5th or a perfect 4th.

The keys of F and C share two of their 1,4,and 5 chords in common: 
                   1     4     5
Key of F:   F     Bb  C
Key of C:  C      F    G

The key of Bb also shares two of its 1,4, and 5 chords in common with the key of F:
                    1       4     5
Key of F:     F     Bb   C
Key of Bb: Bb   Eb    F 

(Bb and C, on the other hand, are not closely related keys. They are separated from each other by a whole step, an interval of a major 2nd. They share only 5 of their 7 Major Scale notes, and only one of their 1,4, and 5 chords, in common with each other.)


Melody
The melody of New River Train uses the first six notes of the Major Scale. In ascending order of pitch, these notes are:
 
                  1    2     3     4     5     6    
                  do  re   mi    fa   sol   la   
Key of A:    A    B   C#   D     E    F#  
Key of Bb:  Bb  C   D     Eb   F    G   
Key of B:    B    C# D#   E     F#  G#
Key of C:    C    D   E     F     G    A   
Key of D:    D    E   F#   G     A     B   
Key of E:    E    F#  G#  A     B    C#  
Key of F:     F    G   A     Bb   C    D   
Key of G:    G    A   B     C     D    E   


Fill-in Licks in Breaks and Backup
There are three 'dead spots' in the melody of New River Train that last long enough for a fill-in lick to be played in them. These spots are in measures 3 to 4 of lines 1, 2, and 4. In lines 1 and 4, the dead spots occur while a 1 chord is called for in the progression, while in line 2, the dead spot occurs while a 5 chord is called for in the progression. 

In the attachments, I have included F and C chord fill-in licks for fiddle and mandolin, for F and C are the 1 and 5 chords for the key of F. Notes in parentheses are not part of the fill-in lick proper and may be omitted or replaced with another note. 

To show how one might get in and out of these fill-in licks in the context of playing a break, or playing backup, I have included in the attachments a sample mandolin break and a mandolin backup part. I recommend that fiddle, guitar, and banjo players, not just mandolin players, take a look at these mandolin tabs, for even if you do not read mandolin tab, so as to be able to decipher what notes are represented on the tab, you can still see the time values of the notes, and where within the measures and in the lines of the progression the fill-ins occur, so as to draw the application to the instrument that you play.

I have also included in the attachments, C, G, and D chord fill-in licks for guitar. For those who choose the 'Capo 3, play as if in D' option for playing New River Train in F, the D chord fill-in licks, presented in the context of 2 complete measures of backup playing are for measures 3 and 4 of  lines 1 and 4. For those who choose the 'Capo 5, play as if in C' option for playing New River Train in F, the C chord fill-in licks, presented in the context of 2 complete measures of backup playing or a Carter-style break are for measures 3 and 4 of lines 1 and 4, and the G chord fill-in licks, presented in the context of 2 measures of backup playing are for measures 3 and 4 of line 2.  (If used in this same spot in the context of a Carter-style break, the first note of the 2 measures would be changed to the open 4th string, since that is the melody note in the song at this point.)

For a D chord fill-in lick on banjo that will work well in both breaks and backup for New River Train in lines 1 and 4, refer back to the attachments in the song of the week write-up for Bury Me Beneath The Willow:

https://www.idahobluegrassassociation.org/jasons-beginner-jam-blog-2019---2020/category/bury-me-beneath-the-willow


Lyrics
The lyrics of 'New River Train' are quite repetitive and easy to memorize. For this reason, this is one of the songs I recommend learning to sing to those who wish to lead a song at the jam, but do not have much experience yet in doing so. 

For most of these songs, you need not know any more than three verses (in addition to the chorus for the songs that do have a chorus) in order to be ready to sing and play a complete arrangement of them at the jam. Notice the number of verses sung on each of the recordings of New River Train given here: two (The White Brothers), three (Roland White; Blake & Rice studio recording), four (Blake & Rice live recording), and six (The Monroe Brothers). 

In general, the slower that a song is played the more desirable it becomes to limit the number of verses sung. Notice that the version with six verses is played at a faster tempo than the other versions given here. 


The set of lyrics I use for the chorus of New River Train are the same as those sung for the first, third, fifth, and sixth choruses on the Monroe Brothers recording.


Song List
20 songs were played at the jam last night: 16 from the main list, 3 from the additional songs list, and 1 that is on neither list:

Angeline The Baker - D
Blue Ridge Cabin Home - A
Buffalo Gals - A
Bury Me Beneath The Willow - D
Columbus Stockade Blues - G
Foggy Mountain Top - G
I'll Fly Away - C
In The Pines - E
Leaning On The Everlasting Arms - A
Liberty - D
Little Cabin Home On The Hill - A
Long Journey Home - G
Mountain Dew - A
New River Train - F
Soldier's Joy - D
Will The Circle Be Unbroken - G
Beautiful Brown Eyes - G
Nine Pound Hammer - G
On And On - G
Lonesome Feeling - G

Happy Pickin',
Jason

Sheet Music:
New River Train - banjo tab in D
Download File

New River Train - guitar tab in C
Download File

New River Train - guitar tab in D
Download File
​
C, G & D fill-in licks for guitar
Download File

New River Train - mandolin tab
Download File

New River Train - sample break in F (mandolin tab)
Download File

New River Train - backup in F with fill-ins (mandolin tab)
Download File

New River Train - melody in F
Download File

F & C fill-in licks for fiddle and mandolin
Download File

Hi,
The song of the week is 'In The Pines' in the key of E. 
'In The Pines' is in 3/4 time (a.k.a. 'waltz time': 3 beats per measure: guitar rhythm: boom-chuck-chuck), and is usually played at a slow tempo. 


Progression
The chord progression is:

1141
1511
In the key of E: 1=E, 4=A, 5=B


Recordings
Bill Monroe - key of F
https://www.youtube.com/watch?v=8_UkluxB7gc

Boone Creek (Ricky Skaggs on lead vocal) - key of B. Notice that the chorus is shorter than on the previous version: this is the way (i.e., with the 'woo-woo-woos' mimicking the sound of the wind omitted) that  I sing the song.
https://www.youtube.com/watch?v=0kjiRfqFhUM

Peter Rowan - key of E
https://www.youtube.com/watch?v=tKh8XjgoQfc


Melody & Breaks
The melody of In The Pines uses only the first 5 notes of the major scale. In the key of E, these notes are, from lowest to highest: E, F#, G#, A, B. However, In The Pines lends itself well to being played with more of a lonesome or bluesy feel to it than what would seem to be implied by the notes that the melody consists of. So, in both my backup playing and in my breaks, I tend to make a lot of use of b3 and b7 notes. In the key of E, those notes are G and D respectively. 

For instance, when playing a melody-based break for the song, I will tend to substitute G notes in place of some of the G# notes, and in my fillin licks - both in my breaks and in my backup playing - I will tend to use D notes in spots where I would much more often use C# notes instead. Many of my fillin licks, and other licks that I might use in a break when I am not attempting to stick close to the melody, will consist solely of the notes that make up the minor pentatonic scale. The E minor pentatonic scale consists of the notes: E, G, A, B, and D 

To get a feel for how one might get started in doing this for a melody-based break for 'In The Pines', I have included in the attachments, in addition to the melody as I tend to sing it (which consists of just E, F#, G#, A, and B notes), a modified 'melody' that adds 3 additional notes into the mix: G, A#, and D. When I am really going for a 'bluesy' feel in a break or in a fillin lick for 'In The Pines', I will make frequent use of the A#/Bb note as a passing note between A and B notes, whether ascending: A, A#, B, or descending: B, Bb, A. If you choose to make use of this note, be careful about how long you linger on it, for it clashes severely with all three of the chords in the song.

The 'modified melody' in the attachments is only a basic example of how one might go about making use of the three extra notes to give a lonesome or bluesy sound to one's breaks. There are many more ways in which one might make use of these notes in one's breaks (and also in one's backup playing), so I suggest experimenting with these notes a bit. You might, for instance, take some licks you already know, and try modifying them in various ways to include one or more of these notes in them. In doing this, you might find it helpful to listen closely to the Boone Creek version of 'In The Pines' - see the link below - to use as a point of reference for the kind of 'sound' or 'feel' to aim for.

Due to its slow tempo, you might find that playing 'In The Pines' at the jam affords you with a good opportunity to try to get more 8th notes - and even 8th note triplets (see the explanation below if you are not sure what 8th note triplets are) - into your breaks than what you otherwise tend to play. You might also like to use the song as an opportunity to work on improvising (i.e., making up a break on the fly), since the slow tempo allows one a bit more time to think about which note or combination of notes one might like to play next.


Swung 8ths and 8th Note Triplets
There are a couple of symbols on the melody sheets attached here that you will not see often on the melody sheets for the song of the week.

The first one, at the top of the pages, consists of a pair of 8th notes followed by an equals sign followed by three 8th notes of which the first two are tied together and the numeral '3' occurs above the three 8th notes. This means that whenever you see a pair of 8th notes in the written music, the first of the two notes is held twice as long as the second one, but together, they take up the same amount of time in the measure as what two 'ordinary' (evenly spaced) 8th notes take up. To get the feel for this, sing (or play) the melody along with the sung choruses on the youtube link provided below, making sure that your 8th notes line up with the vocal phrasing. 

The numeral '3' which is placed below the staff under the group of three 8th notes in the second to last measure of the 'modified melody' indicates a triplet. Each note of an 8th note triplet lasts one-third the length of a quarter note; so, together, these three notes last the same amount of time as a single quarter note.


Guitar Tab Melody Sheets
For playing in the key of E, Bluegrass guitar players most often capo either to the 2nd fret and then play as if in D or capo to the 4th fret and then play as if in C. But, for In The Pines, as well as for many other songs in which it is desirable to make use of a lot of 'blue notes' (i.e., b3 and b7 notes) in one's playing, the 'capo 4  play as if in C' option can make doing this more awkward than what it needs to be, so I have not included a key of C melody sheet in the guitar tab attachments. (In the key of D, the b3 and b7 notes are F and C, whereas in the key of C, the b3 and b7 notes are Eb and Bb.)

However, in addition to the key of D guitar tab melody sheet, I have included a key of E melody sheet in the guitar tab attachments, since playing in the key of E without a capo lends itself at least just as well to the use of blue notes as what the 'capo 2 play as if in D' option does. If you have never tried playing a guitar break in the key of E without a capo, but would like to, I suggest that In the Pines is a good song to start with.

Note: When playing in the key of E without a capo, Bluegrass guitar players tend to play a B7 rather than a B for the '5' chord.


Banjo Tab Melody Sheet
Both the range of the melody for In The Pines and the desirability of using many 'blue notes' in one's breaks and backup playing for the song make the 'capo 2, play as if in D' option more practical than the 'capo 4, play as if in C' option. Therefore, I have included a key of D banjo tab melody sheet in the attachments, but not a key of C tab. 

For banjo players using the melody sheet as a guide for creating a break: for successive 8th notes in the melody, or in fillin licks, there is no need to avoid picking the same string two or more times in a row with the same finger: the song is played slowly enough to allow one to be able to play smoothly even while temporarily breaking away from typical banjo picking patterns in cases where doing so ends up being a more straightforward and simpler option.


Song List
15 songs were played at last night's jam: 12 from the main list, 2 from the additional songs list, and 1 that is on neither list:

All The Good Times Are Past And Gone - G
Blue Ridge Cabin Home - A
Buffalo Gals - A
Columbus Stockade Blues - G
Cripple Creek - A
I'll Fly Away - G
In The Pines - E
Liberty - D
Mountain Dew - A
Old Joe Clark - A
Will The Circle Be Unbroken - A
Will You Be Loving Another Man - G
Boil The Cabbage Down - A
Your Love Is Like A Flower - A
Fireball Mail - G

Happy Pickin',
Jason
​

Hi,
The song of the week is 'Buffalo Gals' in the key of A, played as an instrumental.

Recordings
Aubrey Haynie (mandolin break - key of A, fiddle break - key of D, banjo break - key of A, dobro break - key of D, fiddle break - key of A, guitar break - key of D, mandolin break - key of A)
https://www.youtube.com/watch?v=q8qYQf0ABFk

Mike Scott - key of G
https://www.youtube.com/watch?v=TIZs3Rs8B2U

Alan Munde (who will be one of the main instructors at Weiser Banjo Camp this coming May) - key of A
https://www.youtube.com/watch?v=Z-ciuncHSYY

Eric Weissberg - key of B
https://www.youtube.com/watch?v=1Itq8p6lRTg


Form 
Buffalo Gals is a two-part fiddle tune. Each part is 8 measures long, and is repeated before going on to the next part. This form (2 parts each repeated) is called AABB.  'A' stands for 'A-Part', i.e., first part, and 'B' stands for 'B-Part', i.e., second part. 

Since each part is 8 measures long, it takes 32 measures (8x4) to get through a single complete break for Buffalo Gals. (The same is true also for 'Boil The Cabbage Down', 'Soldier's Joy', 'Angeline The Baker', 'Liberty', 'Turkey In The Straw', and 'Old Joe Clark'.) This is twice the length of a single AABB form break for 'Cripple Creek', 'Cluck Old Hen', and 'Shortnin' Bread'. For, in those tunes each part is only 4, instead of 8, measures long.


Progression
Both parts of Buffalo Gals use the same chord progression:
1151
1151

This is Prog. Z5 on the Basic Chord Progressions handout. 
It takes 8 repetitions of the 4-measure line 1151 to get through a complete AABB form break for Buffalo Gals.

In the key of G: 1 = G, 5 = D
In the key of A: 1 = A, 5 = E
In the key of B: 1 = B, 5 = F# 
In the key of C: 1 = C, 5 = G 
In the key of D: 1 = D, 5 = A
Etc.


Starting the Tune
Buffalo Gals is one of the relatively few AABB form fiddle tunes that I prefer not to start with an 8 potato intro at a jam, because the way I usually play the first half measure of my breaks for Buffalo Gals (except for when playing it on the banjo in the keys of C, D,  E, and F) is essentially the same as the way I play the first half of each of the 4 measures of an 8 potato intro, thus making it sound unclear where the intro to the break ends and where the intro break begins. So, like on the Mike Scott and Eric Weissberg recordings of Buffalo Gals, I usually start instead with three quarter-note pickups that ascend up to the note that the melody begins with. 

These notes are:

                   5     6     7      leading to   1   
                  sol   la     ti                        do
key of G:   D    E      F#                       G  
key of A:    E    F#   G#                       A  
key of Bb:  F    G      A                        Bb 
key of B:    F#  G#   A#                       B 
key of C:    G    A      B                         C 
key of D:    A    B     C#                        D  
key of E;    B    C#   D#                        E  
key of F:     C    D     E                           F   

This same set of pickup notes will work well for starting intro breaks for 'Down The Road', 'Mama Don't Allow', and 'Amazing Grace'.

On the Mike Scott recording, an eighth note pinch/double stop is played before the first of the three quarter-note pickups. I often do this on banjo, but on the other instruments, I change this to a single eighth note. Weissberg also uses on banjo a single eighth note - the first note of the Major Scale, the root note of the 1 chord - before his three quarter-note pickups.  

However, if the way you play the first half measure of your intro break for Buffalo Gals differs enough from the way you play your 8 potato intro to make using an 8 potato intro an effective way to start the tune, then you may prefer to kick off Buffalo Gals with an 8 potato intro instead of with a pickup phrase. For examples of 8 potato intros in the keys of G and A for fiddle, mandolin, banjo, and guitar, refer back to the attachments included in the song of the week write-up for Shortnin' Bread:
https://www.idahobluegrassassociation.org/jasons-beginner-jam-blog-2019---2020/category/shortnin-bread


Breaks
Buffalo Gals has a fast enough moving melody that one can play a satisfactory beginning-level bluegrass break for it without adding much around the melody. But, because the tune is so repetitive, I can't help but want to vary it up as I go through the phrases that constantly recur in the tune.

I have included in the attachments an example of a pattern I make use of on the instruments I play for adding notes around the melody. I call this the checkmark pattern, because if one were to represent the pattern on a graph, the dots would connect to form checkmarks. (See also the additional attachment labeled as 'Buffalo Gals - graph for the first one-and-a-half measures'.) This pattern is made use of sparingly in various spots in some of the breaks played on recordings of the tune included here. 

I use this pattern very often on guitar and mandolin, and to a somewhat lesser extent when playing clawhammer (old-time) style banjo, but to an even lesser extent when playing 3 finger style banjo. Scruggs-style banjo lends itself well to other types of note choices that are determined by a repertoire of various right hand picking patterns (rolls), and clawhammer banjo has its own set of patterns that are characteristic of the clawhammer style, but for banjo players who are curious about how the notes given for the other instruments might fall on the banjo when played in 3 finger style and in clawhammer style, I have included banjo examples of the checkmark pattern applied to the first four measures of Buffalo Gals on the attachment. On banjo, this involves some pretty advanced-level playing relative to the much lower level of difficulty in getting the same combinations of notes on fiddle, mandolin and guitar. 

To grasp the system whereby notes are added around the melody using the checkmark pattern, compare the first four measures of the A Part melody for Buffalo Gals with the 'Buffalo Gals - checkmark patterns example' attachment, breaking both of them down into half-measure chunks. (Note: there are more examples of the pattern on this sheet than what would tend to occur in my playing within any four consecutive measures: I use all these moves in my playing, but I don't usually string them all together back to back.) Within each half-measure unit, observe whether the melody is ascending from a lower to a higher note, descending from a higher to a lower note, or remaining on the same note, and observe whether or not the same thing is happening between the note that ends one of the half-measure units and the note that begins the next half-measure unit.

In the first half of measure 1, the melody remains on the same note, but then ascends to a higher note at the beginning of the second half of that measure. In this case, I start with the first melody note, then dip down to a slightly lower note, then return to the note I started with, and then ascend to a note that connects smoothly into the even higher melody note that the second half of the measure starts with. 

The same idea applies to the second half of measure 1, though, in that case the melody ascends within that unit, rather than just when moving into the next unit: so the fourth/final note of the checkmark pattern that connects into the first note of measure 2 ends up being the same note as the second/final melody note in the second half of measure 1; the melody note in question is displaced in the process, coming an 8th of a measure later in the checkmark pattern example than where it occurs within the unembellished melody.

In the first half of measure 2, going into the second half of that measure, the melody moves in the opposite direction: descending instead of ascending. In that case, after the starting melody note, I first ascend to a higher note, then return to the starting note, then descend to a note that connects to the even lower next melody note that starts the second half of measure 2: thus, we end up with an upside down checkmark in this case.


Double Endings
On the Alan Munde and Eric Weissberg recordings of Buffalo Gals given here, there are an extra 4 measures played at the end of the tune after the final B-Part. This is called a 'double ending', for it consists of two 2-measure length ending licks played back to back. (Weissberg shortens the last measure of the final B-Part to half of a complete measure, so his four measure double ending starts half a measure earlier than what one would ordinarily expect.)

At bluegrass jams, it is common for a double ending to be played after the final break on AABB form tunes like Buffalo Gals. For an explanation of how double endings work, and for examples of double endings in the keys of G and A for fiddle, mandolin, banjo, and guitar, refer back to the section on double endings and to the attachments in the song of the week write-up for Shortnin' Bread: https://www.idahobluegrassassociation.org/jasons-beginner-jam-blog-2019---2020/category/shortnin-bread


Song List
16 songs were played at the jam on last night: 12 from the main list, 3 from the additional songs list, and 1 that is on neither list:

Buffalo Gals - A
Bury Me Beneath The Willow - G
Columbus Stockade Blues - G
Cripple Creek (played twice) - A
Down The Road - B
In The Pines - A
Leaning On The Everlasting Arms - A
A Memory Of You - G
Mountain Dew - A
Soldier's Joy - D
Sweetheart You Done Me Wrong - C
Worried Man Blues - A
Boil The Cabbage Down - A
Turkey In The Straw - G
Your Love Is Like A Flower - G
She'll Be Coming Round The Mountain - A

Happy Pickin',
Jason

Hi,
The song of the week is 'Mountain Dew' in the key of A.

​
Recordings
Ralph Stanley II - key of B
https://www.youtube.com/watch?v=k1exisbsLSU

Flatt and Scruggs with Merle Travis - live at Carnegie Hall - key of A 
http://www.youtube.com/watch?v=khFkNsBbmAQ

Stringbean - key of A 
http://www.youtube.com/watch?v=9ZBUDQsI6m8

Grandpa Jones - key of A
https://www.youtube.com/watch?v=NBtjoRpmOjc


Progression
Mountain Dew uses the 'I'll Fly Away/Will The Circle Be Unbroken' chord progression:
1111
4411
1111
1511


Tempo
Mountain Dew is often played at a fast tempo. The song does not lend itself well to being played as slowly as what we have often played many other songs at the jam. Mountain Dew should be one of our faster songs within the range of the tempos that we tend to play at.


Speed Building
Here are some things to try to help you to play faster:

For rhythm guitar: focus on the bass notes, think of the strums as though they were a mere afterthought. Keep the strums between the bass notes relatively quiet; between bass notes, the strums should be a single, rapidly executed, and compact downstroke with the pick aiming for no more than just the 1st, 2nd and 3rd strings. The pick should not need to change the angle at which it hits the strings between strums and bass notes, and there should be no more than the bare minimum amount of motion from the hand and arm needed for playing rhythm.

For banjo: don't get locked into doing the same right hand picking pattern over and over again; repetitive motions are difficult to maintain even for a short time at fast tempos. Leave some of the less important notes out of the rolls: various mixtures of quarter notes and 8th notes are not only easier to play at fast tempos that a steady stream of 8th notes, but also tend to sound better.

For bass: when playing along with records, make sure that you are able to play on top of the beat, rather than behind it. Can you push the beat just a little bit without speeding up or falling out of time with the record? Test yourself on this with moderate tempo songs before attempting to play along with fast songs on a record.

For guitar and mandolin breaks: for fast songs, tend to play fewer notes per measure than what you would do for moderate tempo songs; the faster the song is, the less need there is for so many notes in order for your breaks to be satisfying to the ear.

For fiddle: when you wish to include measures consisting mostly of 8th notes in your breaks, you might try to find places where it is convenient to play 3 or 4 notes back to back with a single bow stroke, rather than using a separate bow stroke for each note.

For all instruments: when practicing with a metronome, set the metronome just a couple beats faster than the fastest tempo that you feel comfortable playing at, and make yourself keep up to it. Isolate and loop any spots that you find yourself tending to slow down on or stumble over (starting at a slower tempo than what you had the metronome set to, building back up to that speed), or find ways to simplify what you are playing in those spots. Once the metronome speed feels comfortable to play at, set it yet another couple of beats faster, and repeat the same process.


Lyrics
I know six verses for Mountain Dew, but usually use only four or five of them at a time when singing the song at a jam. Among the four recorded versions given here, all six of these verses are accounted for. Three verses is enough to know for the sake of leading the song at a jam. But, the advantage of knowing more verses for the song than what you would sing at any one time at a jam is that if, in the moment, you forget one of the verses, you are less likely to need to repeat a verse you already sang.

The first words of each of the six verses I know are:
1. There's a big holler tree down the road here from me...
2. Mr. Roosevelt told me just how he felt...
3. My Uncle Mort, he is sawed off and short...
4. My Aunt June bought some new perfume...
5. The preacher rode by with his head heisted high...
6. My Brother Bill's got a still on the hill...

The verses that I tend to almost always use when singing the song are the first, third, and sixth on the list, and the one that I leave out more often than any of the others is the fourth. But, the faster the song is played, the more inclined I am to sing more verses.


Song List
16 songs were played at the jam last night: 13 from the main list, and 3 from the additional songs list:
All The Good Times Are Past And Gone - G
Angeline The Baker - D
Buffalo Gals - A
Bury Me Beneath The Willow - G
Down The Road - B
Gathering Flowers From The Hillside - G
Lonesome Road Blues - G
Long Journey Home - A
Mountain Dew - A
Old Joe Clark - A
Soldier's Joy - D
Sweetheart You Done Me Wrong - C
Wreck Of The Old '97 - D
Beautiful Brown Eyes - G
On And On - G
Your Love Is Like A Flower - G

Happy Pickin',
Jason

Hi,
The song of the week is 'Bury Me Beneath The Willow' in the key of G. 

Recorded by the Carter Family in 1927 (under the title 'Bury Me Under The Weeping Willow Tree'), and then by the Monroe Brothers (Bill Monroe and his older brother Charlie) in 1937 as 'Weeping Willow Tree', 'Bury Me Beneath The Willow' has gone on to become one of the most common of Bluegrass standards.


Recordings
Alison Krauss - key of E
https://www.youtube.com/watch?v=jzA68Ohwke4

The Stanley Brothers - sharper than the key of F#, but flatter than the key of G
https://www.youtube.com/watch?v=ohRY7WNqGJY

Ricky Skaggs & Tony Rice - key of G
https://www.youtube.com/watch?v=sHUSKENZsHA

The Carter Family - key of B
https://www.youtube.com/watch?v=YCniFuHlPG0

The Monroe Brothers - key of F
https://www.youtube.com/watch?v=fRxz4OQ4yzc


Arrangement
Of the recorded versions of Bury Me Beneath The Willow given here, the Alison Krauss recording is the only one that starts with a full-length intro break. The half-length intro breaks played on the Stanley Brothers and Monroe Brothers recordings consist of the second half of a full-length break. 

When I have kicked the song off at the beginner jam, I have always played a full-length intro break (16 measures, plus often 1 or 2 additional measures added on to the end of the break before starting to sing the first verse), and I have usually expected others who kick the song off to do the same, as this tends to work better at the jams than any of the other options for starting the song. 

Apart from the intro break on the Monroe Brothers recording, all the breaks on the Alison Krauss, Carter Family, and Monroe Brothers recordings are full-length breaks, but the two breaks after the intro break on the Alison Krauss recording are split between two different instruments. The first half of the break after the first chorus is played on the banjo, while the second half is played on the fiddle. The break after the second chorus is split between the guitar and the mandolin. 

The quarter-length breaks after the first and second choruses on the Skaggs & Rice recordings consist of the last line of a full-length break. Such short one-line breaks are called 'turnarounds'. With very few exceptions, I do not favor the use of turnarounds at the jams, since they severely limit the amount of 'break-playing time' within a song.

On all the recordings given here except for the Stanley Brothers recording, the first verse is sung before the first chorus. When arranging songs at the jams, I sometimes sing the first chorus of a song before singing the first verse, but when I do this, it is for the purpose of creating one more spot within the song for breaks to be played than what would otherwise be there. Thus, the beginning of the arrangement would be: Break, Chorus, Break, Verse 1, Chorus.... This differs from the arrangement on the Stanley Brothers recording: Break, Chorus, Verse 1, Chorus....


Progression
The chord progression for Bury Me Beneath The Willow (on all the recordings given here except for the Monroe Brothers' version) is the most common of all progressions in Bluegrass:

1144
1155
1144
1511
(Prog. V7 on the Basic Progressions handout.)  

Here's a short list of standard bluegrass songs that use this same progression:
Wreck Of The Old '97
I'll Still Write Your Name In The Sand
I'm On My Way Back To The Old Home
Your Love Is Like A Flower
Y'all Come
A Memory Of You  
Down Where The River Bends
Lost And I'll Never Find A Way
Come Back Darlin'
Why Did You Wander
If I Should Wander Back Tonight
I'm Waiting To Hear You Call Me Darling
Ain't Nobody Gonna Miss Me When I'm Gone
Road To Columbus
Hold Whatcha Got
True Life Blues
Blue Moon Of Kentucky (verse)
Black Mountain Rag (C-Part)
Flint Hill Special (A & B Parts)
Rose Of Old Kentucky (verse)
Tiny Broken Heart (verse)
Little Annie (verse)
White Dove (verse)

In the key of G: 1=G, 4=C, and 5=D

The G chord is made up of the notes: G, B, and D.
The C chord is made up of the notes: C, E, and G.
The D chord is made up of the notes: D, F#, and A.

Together, these 7 notes make up the G major scale, and the melody of Bury Me Beneath The Willow makes use of all of them.


Melody
In ascending order of pitch, the melody notes for Bury Me Beneath The Willow are:

                    sol  la   ti   do   re   mi  fa   sol  la
                    5    6    7    1    2    3    4    5    6  
Key of G:     D   E   F#   G   A    B   C    D   E
Key of A:     E   F#  G#  A    B   C#  D   E   F#
Key of Bb:   F   G    A    Bb  C   D   Eb  F   G
Key of B:     F# G#  A#  B    C# D# E    F# G#
Key of C:     G   A    B    C    D   E   F    G   A
Key of D:     A    B   C#   D   E   F#  G   A    B
Key of E:     B   C#  D#   E   F# G#  A   B   C#
Key of F:     C   D     E    F   G    A   Bb  C  D

Of the recordings given here, the melody as sung on the Stanley Brothers' recording comes the closest to the version of the melody given on the attached melody sheets. The Carter Family use essentially the same choice of melody notes, but their timing and phrasing differs in several spots. On the three other recordings, the main melody note in measure 3 of lines 1 and 3 is the 2nd note of the Major Scale (an A note when in the key of G) rather than the 1st note of the Major Scale (a G note when in the key of G).


Pickups into Breaks
When played in the key of G, the first melody note of the first full measure of the verses and chorus is the D note above the G note that the melody ends on. When this is the case, the most effective pick up notes to use to kick off the song are the B, C, and C# notes immediately below that D note. Use of this series of notes is equally effective on all the bluegrass lead instruments. Give it a try. Start by finding the B note on your instrument, and then ascend in half steps (on a fretted instrument, this means you will not skip over any frets) until you reach the D note, playing the B, C, and C# notes as quarter notes, and be sure to place a heavy accent on that D note, since it is the first note of the first full measure of the song. I have included this pickup phrase on the attached melody sheets.

Transposed to each of the 7 other keys that we play in at the jam,
the notes become:

Key    Pickup Notes     Leading to:
A        C# D  D#            E note
Bb      D  Eb E               F note
B        D# E  E#             F# note
C        E   F  F#             G note
D        F# G  G#            A note
E        G# A  A#             B note
F         A   Bb B             C note

The note named as E# in the context of the key of B pickups is the same note as the note that is in most other contexts is named as F.

Other songs on the current main list and additional songs list for the jam for which this same 3-note pick-up measure will work effectively, for the same reasons that it works so well for Bury Me Beneath The Willow include: 'Foggy  Mountain Top', 'Gathering Flowers From The Hillside', 'Lonesome Road Blues', 'Wreck Of The Old '97',  'Come Back Darling', 'I'm On My Way Back To The Old Home', and 'On And On'. In all these songs, the first melody note in the first full measure of the song is a perfect 5th higher than the root note. (The D above G when in the key of G, the E above A when in the key of A, the F above Bb when in the key of Bb, etc.)


Lyrics
The lyrics I use for the chorus are the same as those on the Stanley Brothers recording, except that I usually omit their first syllable ('Oh' on the first chorus, 'Then' on the subsequent choruses):

Bury me beneath the willow,
Under the weeping willow tree;
So he may know where I am sleeping,
And perhaps he'll weep for me.

The words written in bold are those that differ from one or more of the other recorded versions given here.

On the Alison Krauss and Stanley Brothers recordings, there are two verses:

Alison Krauss: 
Verse 1: Tonight I'm sad, my heart is lonely....
Verse 2: Tomorrow was our wedding day....

Stanley Brothers:
Verse 1: My heart is sad and I'm in sorrow....
Verse 2: Tomorrow was to be our wedding....

On the Skaggs & Rice and Monroe Brothers recordings, there are three verses:

Skaggs & Rice:
1. My heart is sad and I am lonely....
2. She told me that she dearly loved me....
3. Tomorrow was our wedding day....

Monroe Brothers: 
1. My heart is sad and I am lonely....
2. He told me that he dearly loved me....
3. Tomorrow was our wedding day....

On The Carter Family recording there are four verses:
1. My heart is sad and I'm in sorrow....
2. They told me that he did not love me....
3. Tomorrow was our wedding day....
4. Oh, bury me under the violets blue....

At the jam, I usually sing three verses:
1. My heart is sad and I'm in sorrow....
2. He told me that he dearly loved me....
3. Tomorrow was to be our wedding....

Occasionally I have added a fourth verse that is similar to the Carter Family's fourth verse, but begins instead with: 'Place on my grave a snow white lily'.


Fill-in Licks 
Just like in a recent previous song of the week,'I'll Fly Away', the third measure of lines 2 and 4 of each verse and chorus of Bury Me Beneath The Willow has only one syllable in it, which is sung at the beginning of the measure. And, the measure that follows begins with a rest. During these kinds of 'dead spaces' within the melody of a song, it is very common for a fill-in lick to be played on one or more of the instruments. In I'll Fly Away both of the dead spaces occur during '1' chord measures; however, in Bury Me Beneath The Willow, the first dead space occurs during the '5' chord measures at the end of line 2. So, in the attachments I have included a chart of simple G chord (the 1 chord when in the key of G) and D chord (the 5 chord when in the key of G) fill-in licks for guitar, banjo, fiddle, and mandolin. 

The D fill-ins are intended for measure 3 through to the first quarter of measure 4 of line 2 of the progression, and the G fill-ins are intended for measure 3 through to the first quarter of measure 4 of line 4 of the progression. These G licks are also good to use in measures 3 to 4 of line 4 of your breaks. The D licks given for fiddle and mandolin will work in measures 3 to 4 of line 2 in fiddle and mandolin breaks, but the D licks given for banjo and guitar are not well suited for use in banjo and guitar breaks.

On the attached chart of fill-in licks, notes in parentheses are not really part of the fill-in lick proper and may be omitted if they are inconvenient to get into from what you were doing immediately before the fill-in measures begin. For instance, if you are playing chop chords on the fiddle or mandolin right up to the point where the fill-in measure starts, you may wish to substitute a quarter note rest in place of the quarter note in parentheses that occurs at the beginning of the fill-in lick measure.  Likewise, the notes you play in a fiddle or mandolin break in measure 2 of line 2 may lead you more naturally to play an A note at the beginning of the next measure rather than a D note, for the A note is the melody note. When this happens, just substitute the A note in place of the D note in the D fill-in lick shown in parentheses on the chart.

For additional G fill-in licks for each of the instruments, refer back to the attachments in the song of the week write-up for I'll Fly Away.
https://www.idahobluegrassassociation.org/jasons-beginner-jam-blog-2019---2020/category/ill-fly-away


Song List
19 songs were played at the jam on Thursday: 15 from the main list, and 2 from the additional songs list:

Angeline The Baker - D
Blue Ridge Cabin Home - A
Buffalo Gals - A
Bury Me Beneath The Willow - D
Cripple Creek - A
Down The Road - A
I'll Fly Away - G
Lonesome Road Blues - G
Long Journey Home - A
Mountain Dew - A
Old Joe Clark - A
Soldier's Joy - D
Sweetheart, You Done Me Wrong - C
Wreck Of The Old '97 - D
Amazing Grace - G
Little Liza Jane - A
Nine Pound Hammer - B
Shortnin' Bread - G
Turkey In The Straw - G

Happy Pickin',
Jason

Hi,
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.


Recordings
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
https://www.youtube.com/watch?v=QNNeAMI1O9M

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
https://www.youtube.com/watch?v=V4dgyx9Q850

Here is a sung version by Bill Monroe, the father of bluegrass music
Bill Monroe - key of C
https://www.youtube.com/watch?v=H0_s2hGkBAs

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
https://www.youtube.com/watch?v=RNY0-xZV2iE


Progression
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:

1111
4411
4411
5511

(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. 


Blue Notes
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.


Arrangement
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, Amazing Grace, This Little Light Of Mine, 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. 


Song List
21 songs were played at last night's jam: 14 from the main list, 5 from the additional songs list, and 2 that are on neither list:

All The Good Times Are Past And Gone - G
Angeline The Baker - D
Buffalo Gals - A
Bury Me Beneath The Willow - D
Cripple Creek - A
Foggy Mountain Top - G
Gathering Flowers From The Hillside - G
I'll Fly Away - G
Liberty - D
Lonesome Road Blues - G
Mama Don't Allow - A
Old Joe Clark - A
Soldier's Joy - D
Way Down Town - E
Ain't Nobody Gonna Miss Me When I'm Gone - A
Cluck Old Hen - A
Paradise - C
Shortnin' Bread - C
Turkey In The Straw - G
Clinch Mountain Backstep - A
Jambalaya - D

Happy Pickin',
Jason

​Lonesome Road Blues - banjo tab
Download File

Lonesome Road Blues - guitar tab
Download File

Lonesome Road Blues - mandolin tab
Download File

Lonesome Road Blues - melody in G
Download File

Hi,
The song of the week (for the beginner jam on Jan. 2) is 'I'll Fly Away' in the key of G. 

​
Recordings
Del McCoury Band - key of Bb
https://www.youtube.com/watch?v=BOAmHrzE8v4

Alison Krauss & Gillian Welch - key of D
https://www.youtube.com/watch?v=uz-0C2dhKlg

Bill Evans, Jason Homey, Janet Beasley, & Gary Eller - key of A (starts at 0:51)
https://www.youtube.com/watch?v=Wq5FlspZlKE

The first and third recordings come closer than what the second does to how I'll Fly Away has usually been played and sung at the jam, both in terms of where the breaks occur in the song, and the vocal harmony arrangement.


Progression
The chord progression for I'll Fly Away is:

1111
4411
1111
1511

This is Progression V3 on the 'Basic Chord Progressions' handout, and is the same progression that is used for 'Will The Circle Be Unbroken', 'Mountain Dew', 'Cryin' Holy' 'When My Time Comes To Go', the chorus of 'It's Mighty Dark To Travel', some versions of 'Sitting On Top Of The World', and many other songs.

Since 13 out of the 16 measures of this progression consist of 1's, memorizing the progression need not involve anything more than just remembering the location of the 4's and the location of the 5 within the progression.

In the key of G: 1 = G, 4 = C, 5=D. For the 1, 4, and 5 chords for each of the other 7 keys that the song may be played in at the jam, refer to the beginner jam Nashville Number Charts handout included in the attachments.


Melody
While the chord progression is the same for both the verse and the chorus of I'll Fly Away, the melody of the chorus differs from the melody of the verse. The spots that differ are the whole first line, and on the Del McCoury Band recording, and in the way that I have sung the chorus at the jams, also in the first two measures of the 3rd line. ('When I die': the ascending sequence of D, E, and G notes when in the key of G, instead of the descending sequence of B, G, and D notes that the 3rd line of the verse melody begins with.)

In ascending order of pitch, when played and sung in G, the notes that make up the melody for the verses are: D, E, G, A, B, C, and the notes that make up the melody for the chorus are: D, E, G, A, B, C, D, with the high D note being the note that the chorus starts on. To see what these notes would be for the 7 other keys that I'll Fly Away may be played in at the jam, refer to the Nashville Number System Charts handout in the attachments, notes 5, 6, 1, 2, 3, 4 on the larger of the two charts.


Breaks
In the attachments, I have provided the verse melody as a guide for creating melody-based breaks for each of the instruments; but since the progression is the same for both the verse and the chorus, if you know the chorus melody and would like to play a break that is based upon the chorus melody instead of the verse melody, feel free to do so, just not at the beginning of the song for the intro break. This can make the song a bit more interesting, especially when two breaks are played back to back, or after several breaks have been already been played in the song that have been based upon the verse melody, and it will work in the context of the collective breaks that we play at the beginner jam, since the chorus melody is for the most part harmonious with the verse melody.

Here is an instrumental recording of I'll Fly Away that contains both verse and chorus breaks on each instrument: banjo (key of G), guitar (key of C), fiddle (key of F), mandolin (key of Bb), dobro (key of Eb), banjo (key of G):

Bluegrass '96 - Scott Vestal, Aubrey Haynie, Wayne Benson, Jeff Autry, Rob Ickes, & Mark Schatz
https://www.youtube.com/watch?v=e5joNSHVKzg


Harmony
I welcome harmony singers to sing not only on the choruses, but also on the second and fourth lines of the verses (the 'I'll Fly Aways'), like on the first and third recordings given here. Please remember though that when singing harmony, it is important to be focused on the lead singer as much as possible for the sake of timing, tuning, and phrasing. 

In the attachments, I have included a simple three part harmony arrangement for the choruses (the notes for the 'I'll Fly Aways' in the verses are identical with the notes for the 'I'll Fly Aways' in the choruses, so I have not included a harmony arrangement for those parts of the verses in the attachments.) There are much more interesting note choices that one could use for the harmony parts than what I have written here, but for the sake of those who are just beginning to learn to sing harmony, I have tried to keep the parts as simple and straightforward as possible. 

On the harmony sheet attached here, the notes for the tenor harmony are the highest of the groups of three notes on the staff, the notes for the baritone harmony are the lowest, and the melody is the middle set of notes. If it suits your vocal range better, you may drop the tenor harmony part an octave to create the harmony part that is known in bluegrass as the 'low tenor', or you may raise the baritone harmony an octave higher to create the harmony part that is known in bluegrass as the 'high baritone'. 

On the third recording provided here, Bill, Janet, Gary, and I took turns singing the lead on the solo parts (the first and third lines) of the verses, but we each stuck to a given part when singing together on the chorus and on the second and fourth lines of the verses: Bill sang the melody, Janet sang the tenor harmony, I sang the baritone harmony, and Gary sang bass.


Lyrics
On the Del McCoury recording, there are two verses:
1. Some glad morning when this life is over....
2. Just a few more weary days and then....

On the Alison Krauss & Gillian Welch recording, there are four verses:
1. Some bright morning when this life is o'er....
2. When the shadows of this life have gone....
3. Oh how glad and happy when we meet....
4. Just a few more weary days and then....

On the Weiser Banjo Camp 2016 Instructors Concert recording, there are four verses that are essentially the same as the four on the preceding recording, but the order of the middle two verses is inverted:

Bill: Some glad morning when this life is o'er....
Jason: Oh how glad and happy when we meet....
Janet: When the shadows of this life are gone....
Gary: Just a few more weary days and then....

At the jam, I usually sing three verses:
1. Some glad morning when this life is over....
2. When the shadows of this life have grown....
3. Just a few more weary days and then....

On the rare occasion when I have sung all four verses at the jam, I have usually put them in the same order as on the Gillian Welch & Alison Krauss recording


Fill-in Licks 
The third measure of lines 2 and 4 of each verse has only one syllable in it, which is sung at the beginning of the measure. And, the measure that follows begins with a rest. During these kinds of 'dead spaces' within the melody of a song, it is very common for a fill-in lick to be played on one or more of the instruments. In the attachments I have included a chart of simple fill-in licks for guitar, banjo, fiddle, and mandolin that will fit well into measure 3 through to the first quarter of measure 4 of lines 2 and 4 of the progression for I'll Fly Away when the song is played in the key of G. These same licks are also good to use in measures 3 to 4 of lines 2 and 4 of your breaks. 

On the attached chart of fill-in licks, notes in parentheses are not really part of the fill-in lick proper and may be omitted if they are inconvenient to get into from what you were doing immediately before the fill-in measures begin. For instance, if you are playing chop chords on the fiddle or mandolin right up to the point where the fill-in measure starts, you may wish to substitute a quarter note rest in place of the quarter note in parentheses that occurs at the beginning of the fill-in lick measure.  Likewise, the notes you play in a break in measure 2 of line 2 may lead you more naturally to play a D note at the beginning of the next measure rather than a G note, for the D note is the melody note. When this happens, just substitute the D note in place of the G note shown in parentheses on the chart.

If a harmony vocalist fills up the 'dead space' in the melody at the end of the second line of the chorus by singing 'in the morning' (like on two of the three recordings given here) in that spot, then it is best to not play a fill-in lick on the instruments there. This is an instance of what one might call, by way of analogy, a 'vocal fill-in lick'.


Endings
For songs like I'll Fly Away that use a progression that ends with two measures of the 1 chord, and in which the last syllable is sung at the beginning of the first of these two measures (which includes the overwhelming majority of the non-instrumental songs on the current main list and additional songs list), it is common for a two-measure ending lick to be played on the instruments during the last two measures of the progression when the song is going to end. In most cases, this means the last two measures of the final chorus (or, for songs that don't have a chorus, the final verse) of the song. 

In the attachments, I have included a chart of simple two-measure endings in the key of G for fiddle, mandolin, guitar, banjo, and bass that will work for all of the songs that fit into this category, except for the ones played in 3/4 time.

Notice that the last note played in each of the endings coincides with the beginning of the second half of the last measure. (For 3/4 time songs, appropriate ending licks would have their last note coincide with the beginning of the last measure.)

Happy Pickin',
Jason

New Song Lists
Included in the attachments are two new song lists for the jam which are intended to replace the lists that were used for the jam between September and December 2019.

The first list (titled 'Beginner Bluegrass Jam - Jan. - June 2020 - Main List') consists of 20 of the 26 songs that were on the previous main list, plus 10 more songs that I intend on making songs of the week between now and the beginning of June. This list of 30 songs is the list that we will play from for the first half of the evening. 

The second list (titled 'Beginner Bluegrass Jam - Jan. - June 2020 - Additional Songs') consists of the 6 songs that have removed from the main list (Beautiful Brown Eyes, Boil The Cabbage Down, Little Birdie, My Home's Across The Blue Ridge Mountains, Nine Pound Hammer, and Shortnin' Bread), and 24 other songs that would be appropriate to call during the second half of the evening for the stage that the beginner jam is now at. Keep in mind that this list, taken together with the main list, is only representative of the kinds of songs that are appropriate for the jam; it is far from being exhaustive.

Also included in the attachments is the Basic Chord Progressions handout that the song lists are keyed to, and Nashville Number System charts for converting the number names of chords to their letter names for the keys that songs are played in at the jam. No changes have been made to these handouts. ​

Hi,
The song of the week is 'Old Joe Clark' in the key of A.


Recordings
Carolina Bluegrass Express
https://www.youtube.com/watch?v=sYu_FdJWDs0

UK98 Bluegrass Band
https://www.youtube.com/watch?v=ReZZtchOL3E&nohtml5=False

Gravel Road Bluegrass Band
http://www.youtube.com/watch?v=O0zfsmYjj9E


Form & Arrangement
'Old Joe Clark' is a two-part fiddle tune traditionally played in the key of A. The form of the tune is AABB.  This means that each part of the tune (called the A-Part and the B-Part respectively) is played through twice before going on to the next part.

Like most of the fiddle tunes played at the beginner jam, Old Joe Clark does have lyrics, but, more often than not, Old Joe Clark is played as an instrumental at Bluegrass jams. It is more common at Old-Time jams for lyrics to be sung for  fiddle tunes.


Progression
The chord progression for the A-Part is:
1     1    1     5
1     1    1/5  1

The chord progression for the B-Part is:
1     1     1     b7
1     1     1/5  1

In the key of A:
1 = A
5 = E
b7 = G

With the capo in the second fret, the chord shapes become:
1 = G
5 = D
b7 = F

Note: the way that many people, myself included, play the F chord on the guitar looks very similar to the fingerings used for the C chord. So, if you are following a guitar player for the chord changes for Old Joe Clark while at the jam, it can be helpful to keep in mind that there is no '4' chord in the progression.


The b7 Chord
A quick way to determine what the b7 (flat-seven) chord is for any given key is to think of it relative to the 1 chord. The b7 will always be one letter lower and one whole-step lower than the 1. Make it a point to remember this.

For each of the 8 Major keys we play in at the jam, the b7 chord is:

Key (1)     b7
G              F
A              G
Bb            Ab
B              A
C              Bb
D              C
E               D
F               Eb

It is called the b7 (flat-seven) chord because the root note of the chord is a half-step lower than the 7th note of the Major scale (flat means a half-step lower).  E.g., The G Major Scale consists, in order, of the notes: G, A, B, C, D, E, F#. The 7th note of the G Major Scale is therefore F#. The note that is a half-step lower than F#, and uses the same letter in its name as F#, is F. Therefore, in the key of G, the b7 chord is F.


Intros & Endings
The most effective way to kick-off most AABB-form fiddle tunes, including Old Joe Clark, at a jam is not by playing a pickup measure consisting of three quarter notes to lead into your intro break, but is by droning in a straight but rhythmic manner the root note of the key that the tune is in (often together with another one of the notes that also belong to the 1 chord) for four measures to lead into your intro break.This is called in bluegrass and old-time circles the '8 Potato Intro'. 

It is also customary in Bluegrass circles to end most AABB-form fiddle tunes (as well as most fast instrumentals) with a tack-on 'double ending' that is played, not in place of the last 4 measures of the tune, but rather immediately after the last measure of the tune has been played. 'Double' refers to the ending being 4 measures long rather than only 2 measures long. Most of these types of endings consist of two 2-measure length ending licks played back to back.
 
See the attachments for some beginner-level examples of 8 Potato Intros and Double Endings for the key of A.


Melody
The melody of the tune is based upon the mixolydian scale.  This scale, which shows up frequently in the traditional music of the American South and the British Isles, and in Gregorian Chant, is in all respects like the major scale that we are all familiar with (do-re-mi-fa-sol-la-ti-do), except that the seventh scale degree ('ti') is lowered by a half step. 

The result is that a mixolydian scale always has one less sharp (or one more flat) in it than the major scale that shares its same letter name.  Since the A major scale has 3 sharps (F#,C#,G#), the notes of the A major scale being, in ascending order of pitch: A B C# D E F# G# A, the A mixolydian scale (like the D major scale) has 2 sharps (F#,C#), the notes of the A mixolydian scale being: A B C# D E F# G A.  Since the G major scale has 1 sharp (F#), the G mixolydian scale (like the C major scale) has no sharps.  The G major scale is: G A B C D E F# G.  The G mixolydian scale is: G A B C D E F G.


Melody Sheets
The melody sheets attached here give only a very basic version of the melody. Put some filler notes around it (e.g., rolls on banjo, shuffle rhythm on the other instruments, etc.), make use of double stops (especially on fiddle and mandolin), slide into some notes, etc., and this will suffice for beginner-level break for Old Joe Clark. However, quite a few more notes can be added to the basic melody, many of which may be considered as melody notes instead of as mere filler notes. If you already know how to add these into your breaks for Old Joe Clark, don't hold back in doing this at the beginner jam. 


Song List
20 songs were played at last night's jam: 12 from the main list, 3 from the additional songs list, and 5 that are on neither list:

All The Good Times Are Past And Gone - G
Angeline The Baker - D
Bury Me Beneath The Willow - C
Down The Road - A
Foggy Mountain Top - G
I'll Fly Away - G
Little Birdie - Bb
Mama Don't Allow - A
A Memory Of You - G
Old Joe Clark - A
Shortnin' Bread - G
Soldier's Joy - D
Amazing Grace - G
Little Cabin Home On The Hill - A
Wreck Of The Old '97 - D
Away In A Manger - G
Auld Lang Syne - G
Good King Wenceslas - A
Jingle Bells - G
Santa Looks A Lot Like Daddy - D

Happy Pickin',
Jason