YouTube Jam with Jason - 66
Here are 3 songs with me on the banjo that I hope you'll enjoy playing.
Liberty - D (108 bpm)
Worried Man Blues - Bb (112)
Will You Be Loving Another Man - A (116)
Beginner Bluegrass Jam 7/31/2021 / Jam Along / Idaho Bluegrass Association / Jason Homey - YouTube
Worried Man Blues
Will You Be Loving Another Man
YouTube Jam with Jason 53
Here are songs with me on the mandolin that I hope you'll enjoy playing.
Liberty - D (104 bpm)
Worried Man Blues - Bb (106)
Will You Be Loving Another Man - A (108)
Beginner Bluegrass Jam 4/3/2021 / Jason Homey - YouTube
Have a happy Easter!
Worried Man Blues
Will You Be Loving Another Man
The song of the week is 'Liberty' in the key of D.
Flatt & Scruggs with Doc Watson
Midwest Banjo Camp 2013: Bill Keith, Tony Trischka, Greg Cahill, Alan Munde, Ken Perlman, Brad Leftwich, Bill Evans, Janet Beasley, etc.
Byron Berline & John Hickman
B-Part: 1115 (Prog. Z1 on the Basic Chord Progressions Chart.)
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
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.
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.
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.
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
Jason's Beginner Jam Blog 2019 - 2021
Weekly on Thursdays
Songs regularly called at Bluegrass Jams and links from Jason's "Song of the Week" emails. (from Renee)
in alphabetical order