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Hi everyone, The song of the week is 'Light At The River' in the key of A. Recordings Carl Story - key of A Light At the River - YouTube Mac Wiseman - key of A Light At The River~Mac Wiseman.wmv - YouTube The Lonesome River Band - key of Bb Light At The River - YouTube Jason Homey & The Snake River Boys - key of A Light of the River - Jason Homey and the Snake River Boys - YouTube Jam Videos Here are two youtube jam videos I have made for Light At The River: Jason’s YouTube Links – Alphabetical Listing – Parisology (cyberplasm.com) Progression Light At The River uses the same chord progression as Foggy Mountain Top and All The Good Times Are Past And Gone: 1141 1155 1141 1511 (Prog. V6 on the Basic Chord Progressions chart.) 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 Bb: 1 = Bb; 4 = Eb; 5 = F Melody If you listen to all four recordings of the song given in the recordings section at the top of this write-up, then you will have heard four different versions of the melody for Light At The River. And, if you go on youtube to find more recordings of the song, it won't take long until you come across even more different versions of the melody. Where the various versions of the melody tend to diverge most significantly from each other is in the first half of lines 1 and 3 (both in the verses and in the chorus). The version of the melody that I sing for the chorus of the song consists of only 5 notes. These are the same 5 notes that the melody of All The Good Times Are Past And Gone and the melody of Down The Road consists of. In the key of A, these 5 notes are in order from lowest to highest: E, F#, A, B, and C#. In the key of G, the 5 notes would be D, E, G, A, and B; in the key of Bb, they would be F, G, Bb, C, and D; etc. The melody I use for the first two verses of the song is essentially the same as the melody I use for the chorus. (In the third verse, I'll often hit a higher note at the start of the third line than what I sing at any other point in the song - the E above the C# when in the key of A - making a bit of use of one of the alternative versions of the melody.) So, for the purposes of having a starting point for creating a melody-based break for the song, it makes little difference whether one follows the melody I sing for the first verse or the melody I sing for the chorus. Finding the Melody In the melody sheets attached here, I have given the chorus instead of the first verse. Notice that the first 3 notes (the 2 pick-up notes, plus the note that starts the first full measure) are the same as those for Will The Circle Be Unbroken and Little Birdie, two songs that have often been played at the jam. They are also the same notes as the first three notes of She'll Be Coming Round The Mountain. After giving the first few notes of the melody, I pass it to you to take over to complete the melody sheet. In addition to the hint I already offered concerning finding the melody (the 5 notes), here are a few more hints, tips, and suggestions that you may find helpful in trying to figure out the melody in order to complete the melody sheets. Since it's easier to hear the melody when harmony is not being sung along with it, I recommend using the key of A youtube jam video, rather than the Snake River Boys recording, when trying to pick up the melody by ear. Remember, on a laptop, if you go to settings, you can slow down youtube videos to half speed or quarter speed. Some may find it helpful to sing along and try to match the notes with their voice first before trying to match the notes on their instruments. If you are having trouble figuring out what note was sung in a particular spot in the first chorus, you might try going to the second or third chorus to see if I may have sung the note more clearly there. If this doesn't help, then I suggest moving on, and going back to that spot later, filling it in with a note that makes melodic sense to you, regardless of whether it is the note that I actually sang. One does not need to be able to replicate a melody exactly as someone sang it in order to be able to come up with a melody-based break that sounds like it belongs in the song. Taking it as a given that the first note of the first complete measure of line 1 is the root note of the key (an A note when in the key of A, a G note when in the key of G, etc.), since I have provided that note on the melody sheets, listen to the whole chorus, and see if you can hear which other lines start with that same note, and see if you can hear if there are any lines that start with a different note. (The second and fourth lines start with the word 'light', the third line starts with the word 'Lord'.) After the first notes of the chorus provided on the melody sheets, listen for what comes next, asking yourself: Is the next note the same as the one before it? Or, is it higher than that note? Or, is it lower than that note? Then do the same for each note in turn, until you have completed the whole line. When you come across the first case of a note that sounds higher than the third note, then there are only 2 notes to try out to see which one is the melody note (B and C# in the key of A; A and B in the key of G, etc.) for the melody doesn't go any higher than those notes. A similar thing applies when you come across the first instance of a note that you can hear is lower than the third note of the melody. For the second line, notice the progression: 1155. Run through half a dozen or so melodies on your instrument in the key of A that you already know that have 1155 as the second line of their progression, and ask yourself, what is the note that I find myself most often playing at the point that the change to the 5 chord occurs? Does that sound like it might be the same note that the melody goes to on the word 'see' in the second line of Light At The River when the change to the 5 chord happens? Not all melody notes are equally important to identify accurately in order to have a solid basis for creating a melody-based break. For instance, it makes no real difference whether one writes in an E, an A, a B, or a C# note for the last note of line 2 (on the word 'my': the pickup note leading into the third line). In melody-based breaks, this note would often be glossed over anyways in favor of a stock pickup phrase leading into the beginning of the next line. More often than not, the main melody notes (the notes that are dwelt on, as opposed to those that are used merely in passing to connect one main melody note to the next) are notes that are part of the chord that is being played at the time. If one keeps this in mind, then even if you do not succeed in accurately identifying all the main melody notes that I sing in the chorus of Light At The River, there is a fairly good chance that in the cases where there is a divergence, you have hit on a note that belongs at that point to one of the alternative versions of the melody. And, on the recordings, not all the melody-based breaks follow strictly the version of the melody being sung on the particular recording; but sometimes incorporate parts of one of the alternative melodies, and it works just fine. And it is common for the last line of melody-based breaks to be more lick-oriented than melody-oriented. Lyrics As far as I can gather, Light At The River originally had four verses, and the three-verse version that I sing results from combining parts of two of those four verses together, reducing the two verses down to one verse. Some sing my third verse as their second verse, and my second verse as their third verse. On many recordings, the song is sung with only two verses: either one of the three verses gets omitted entirely, or parts of two of the three verses are combined with each other, making one verse out of two verses. Song List 22 songs were played at last night's jam: 12 from the main list, 8 from the additional songs list, and 2 that are on neither list: Blue Ridge Cabin Home - A Cripple Creek - A Down The Road - B Light At The River - A Long Journey Home - B A Memory Of You - A Nine Pound Hammer - D Old Joe Clark - A Shortnin' Bread - G Soldier's Joy - D Way Down Town - E Will The Circle Be Unbroken - G Angeline The Baker - D Boil The Cabbage Down - A Cluck Old Hen - A Columbus Stockade Blues - Bb Foggy Mountain Top - G Lonesome Road Blues - G Mountain Dew - A Wildwood Flower - C Hold Whatcha Got - D Sitting On Top Of The World - G Happy Pickin', Jason
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Hi everyone,
The song of the week is 'Old Joe Clark' in the key of A. Recordings The Grascals The Grascals Ol' Joe Clark HD - YouTube Carolina Bluegrass Express https://www.youtube.com/watch?v=sYu_FdJWDs0 Jason Homey & The Snake River Boys Old Joe Clark - Jason Homey and the Snake River Boys - YouTube Jam Videos Here are three youtube jam videos I have made for Old Joe Clark. I recommend starting with the one listed first. In that one, I am on guitar. Jason’s YouTube Links – Alphabetical Listing – Parisology (cyberplasm.com) 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 files at the bottom of this write-up 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 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. Breaks The four melody sheets provided here at the beginning of the files section at the bottom of this write-up give only a very basic version of the melody. Put some filler notes around the melody (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 a 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. If you aren't already doing this, but would like to find extra melody notes to add into your breaks for Old Joe Clark, take a look at the fiddle, mandolin, and guitar break examples I have provided in the files section below the melody sheets to get some ideas. Song List 22 songs were played at last night's jam: 12 from the main list, 8 from the additional songs list, and 2 that are on neither list: Blue Ridge Cabin Home - A Cripple Creek - A Down The Road - B Gathering Flowers From The Hillside - G Liberty - D Light At The River - A Mama Don't Allow - A New River Train - F Old Joe Clark - A Shortnin' Bread - A Soldier's Joy - D Way Down Town - G Boil The Cabbage Down - A Cluck Old Hen - A Hand Me Down My Walking Cane - G I'll Fly Away - C Little Cabin Home On The Hill - B Lonesome Road Blues - G This Little Light Of Mine - A Wildwood Flower (played twice) - C & G Lonesome Feeling - G Why Don't You Tell Me So - B Happy Pickin', Jason Files: Old Joe Clark - melody - basic in A Download File Old Joe Clark - melody - mandolin tab Download File Old Joe Clark - melody - banjo tab Download File Old Joe Clark - melody - guitar tab Download File Old Joe Clark - fiddle break 1 Download File Old Joe Clark - fiddle break 2 Download File Old Joe Clark - mandolin break Download File Old Joe Clark - mandolin break 2 Download File Old Joe Clark - guitar break 1 Download File Old Joe Clark - guitar break 2 Download File 8 Potato Intro in A Download File Double Endings in A Download File Hi everyone,
The song of the week is 'Down The Road' in the key of B. Recordings Flatt and Scruggs - key of B (studio recording) https://www.youtube.com/watch?v=HmBOl82qXqs The Bluegrass Album Band - key of B https://www.youtube.com/watch?v=4UKiNl3e97E Flatt and Scruggs - key of A (live recording) https://www.youtube.com/watch?v=uc0iFZSeY6A Jason Homey & The Snake River Boys - key of B (starts at 0:34) Jason Homey and the Snake River Boys, IBA Open Mic, 6_25_19 - YouTube Jam Videos Here are four youtube jam videos I have made for Down The Road. Jason’s YouTube Links – Alphabetical Listing – Parisology (cyberplasm.com) Form The form of this song is unusual. Except for the last verse of the song (which has a common 8-measure form: 2 lines consisting of 4 measures each: this does not include the two-measure tack-on 'shave-and-a-haircut' ending that follows the last verse), the form for Down The Road consists of 2 lines of unequal length. The first line is the standard four measures that lines in most bluegrass songs consist of, but the second line is five-and-a-half measures long. This brings us to a total of nine-and-a-half measures. Add to this the bluegrass tendency to allow one or more extra measures of the 1 chord to go by at the end of a break that occurs right before a verse is sung, and you can end up with ten-and-a-half, or eleven-and-a-half measures, or more, for the length of a break that occurs before a verse. Notice that on the first Flatt & Scruggs recording given here, the breaks are consistently ten-and-a-half measures long, while on the second recording, even more measures are added to the end of the breaks, but not always the same number of extra measures. However, and this is important to observe, on all the recordings, all the sung verses that are followed by a break are exactly the same length: nine-and-a-half measures. One way to think about this is that the number of beats that go by between the last sung syllable and the first full measure of the break that follows is always the same. Progression Not counting extra measures of the '1' that might occur at the end of some of the breaks, the chord progression for Down The Road is: 1 1/6m 1 5/1 1 1/6m 1 5 1 1 The 'half' measure in the form occurs in the spot where the 5 chord is played in the second line. If one is counting the beats in the second line in cut common time (2/2), one would count it as: 1,2,1,2,1,2,1,1,2.1,2. Notice the spot where there are two 1s back to back without a 2 intervening between them. On the sheet music provided here in the files at the bottom of this song of the week write-up (see the file labeled as 'Down The Road - melody in B'), I have written the 'half' measure (measure 8) with a time signature of 1/2. And then to indicate that the remaining two measures in the form return to 2/2, I have placed the time signature symbol that represents 2/2 at the beginning of the measure that follows the 1/2 time measure.) The progression for the last verse is: 1 1/6m 1 5/1 1 1/6m 1 5/1 after which a 2-measure ending lick is played on the banjo. In the key of B: 1=B; 6m=G#m; 5=F# The B (major) chord consists of the notes: BD#F# The G#m chord consists of the notes: G#BD# (it has two notes in common with the B major chord) The F# (major) chord consists of the notes: F#A#C# Banjo and guitar players should capo to the 4th fret, and then play as if in G. In the key of G: 1=G; 6m=Em; 5=D For chop chords on the mandolin for the key of B: move the chop chords you use for the key of A two frets higher and you will be playing in B. Melody In ascending order of pitch, the notes that make up the melody of Down The Road are: 5 6 1 2 3 sol la do re mi Key of G: D E G A B Key of A: E F# A B C# Key of Bb: F G Bb C D Key of B: F# G# B C# D# Key of C: G A C D E Key of D: A B D E F# Key of E: B C# E F# G# Key of F: C D F G A The starting note of the melody is the 1st note of the scale (do): the note that has the same name as the key that the song is being played in. Breaks When you look at the sheet music files for Down The Road at the end of this write-up, observe that the first measure of the break begins two measures from the time that the last syllable of the verse is sung. Another way of looking at this is that there are two measures of the 1 chord that are played at the end of the verse before the break begins. If enough of us make it a point to observe and practice this, this will go a long way towards minimizing the confusion that can easily result (due to the unusual form of the song) when Down The Road is played at a jam. There are two things that one can do to help prevent confusion about when the break begins (i.e., when the form starts over again): 1) Use three quarter-note pickup notes for leading into your break: F#, G#, A# (leads to a B note) for the key of B. The corresponding notes for the key of G are D, E, F# (leads to a G note). Dig into your three pickup notes really hard so as to draw attention to yourself, and then dig into the note that comes next (namely, the first note of the first measure of your break) even harder so that there can be no room for doubt as to where the first measure of the form begins. These three pickup notes should be played during the last three-quarters of the last measure of the form, and they should be spaced apart from each other evenly. Breaks & Backup 2) Play a fill-in lick in the measure that contains the last syllable of the verse, and end that fill-in lick on the first downbeat of the next measure. Bring your volume up as soon as after the last syllable is sung, and hit the last note of your fill-in lick really hard (make it 'pop', especially if you are playing a G run on the guitar: the fill-in licks for guitar that are given in the files at the end of this write-up represent three different versions of what is commonly called 'the G-run'). This makes it clear as to where the last measure of the form begins - which is helpful to make clear on account of the half measure that the form contains in its second line, after which some people may find the beat 'flipped around' in their head and/or in their playing. The first of the three pickup notes into the break begin right after the last note of the fill-in lick is played. But, on banjo, and especially on guitar, it is good to play a fill-in lick at the end of the progression for every break and every verse, except for the last verse, and not just when a banjo or guitar break is going to occur next in the arrangement of the song. Ending For the last verse, which is eight measures long, rather than nine-and-a-half, it works best if everyone plays their last note at the same time as the last syllable is sung (as on the standard recordings given here). Then the banjo players can add a two measure tack-on ending lick appropriate for the 1 chord of the song (doesn't have to be the same ones that are on the recordings) that everyone else remains silent on except for the on the very last note of the ending. This kind of ending is a single ending, for it consists of only one ending lick, as contrasted with the double endings consisting of two ending licks played back to back that are commonly used for AABB-form tunes like Boil The Cabbage Down, Cripple Creek, Old Joe Clark, Liberty, Soldier's Joy, etc. For a single ending, you may use either the first or the second ending lick that your double endings consist of. Refer back to the files in the song of the week write up for Shortnin' Bread for an example of a double ending on the banjo, which can be turned into two ways of playing a single ending. https://www.idahobluegrassassociation.org/jasons-beginner-jam-blog-2019---2020/category/shortnin-bread In the files for the current song of the week write-up (scroll to the bottom of this page), I have included a simplified version of the up-the-neck single ending 'shave-and-a-haircut' licks that are played on the banjo on the recordings for Down The Road given here. This ending lick will also work well for the second half (but not for the first half) of a double ending for tunes in G (and with a capo, also for tunes in A, Bb, B, and C.) Song List 22 songs were played at last night's jam: 13 from the main list, 7 from the additional songs list, and 2 that are on neither list: All The Good Times Are Past And Gone - A Blue Ridge Cabin Home - A Cripple Creek - A Down The Road - B Little Birdie - Bb Long Journey Home - B A Memory Of You - A New River Train - F Nine Pound Hammer - Bb Old Joe Clark - A Soldier's Joy - D Will The Circle Be Unbroken - A Wreck Of The Old '97 - D Angeline The Baker - D Bury Me Beneath The Willow - G Forked Deer - D I'll Fly Away - A I'm Waiting To Hear You Call Me Darling - D Lonesome Road Blues - G Will You Be Loving Another Man - B Sitting On Top Of The World - G Why Don't You Tell Me So - Bb Happy Pickin', Jason Files: Down The Road - melody in B Download File Down The Road - mandolin tab (B) Download File Down The Road - banjo tab Download File Down The Road - guitar tab Download File Down The Road - fill-in licks (B) Download File Shave-And-A-Haircut Single Ending on Banjo Download File Hi everyone,
The song of the week is 'Blue Ridge Cabin Home' in the key of A. Recordings Flatt and Scruggs - key of Bb. This is the original recording of 'Blue Ridge Cabin Home'. It is in the key of Bb instead of A only because all the instruments were tuned a half-step higher than standard. https://www.youtube.com/watch?v=gcZN9x4q4kg For a more recent recording of Blue Ridge Cabin Home, here is one of my favorites: The Bluegrass Album Band - key of Bb https://www.youtube.com/watch?v=htxGouge9-g In many Bluegrass circles, the Bluegrass Album Band (Tony Rice - guitar, vocals; J.D. Crowe - banjo, vocals; Doyle Lawson - mandolin, vocals; Bobby Hicks - fiddle; Todd Phillips - bass) version of Blue Ridge Cabin Home, released in 1981, has replaced the 1950s Flatt & Scruggs version as the primary point of reference for the song. Jason Homey & The Snake River Boys - key of Bb Jason Homey and the Snake River boys, IBA Open Mic, 10_22_19 - YouTube Jam Videos Here are four youtube jam videos I have made for Blue Ridge Cabin Home. I recommend starting with the one listed first. In that one, I am on guitar, and am playing in the key of A. Jason’s YouTube Links – Alphabetical Listing – Parisology (cyberplasm.com) Progression The chord progression for Blue Ridge Cabin Home is: 1144 5511 1144 5511 (Progression W8 on the Basic Chord Progressions chart. In the key of A: 1=A, 4=D, 5=E. In the key of Bb: 1=Bb, 4=Eb, 5=F. In the key of G: 1=G, 4=C, 5=D.) Notice that both halves of the progression are identical with each other, and that the 4 chord is always followed by the 5 chord without the 1 chord intervening between them. Other very jam friendly songs that use the same chord progression, include: A Few More Seasons. I'm Thinking Tonight Of My Blue Eyes Is It Too Late Now Nobody's Business The Prisoner's Song She's Gone, Gone, Gone Sweetheart You Done Me Wrong Unwanted Love We Can't Be Darlings Anymore We'll Meet Again Sweetheart Starting the Song On the classic recordings of Blue Ridge Cabin Home, the song begins with a banjo intro break that is based squarely upon the melody for the verses of the song, and that is how the song is usually started at bluegrass jams. The pickup measure played on the banjo on the recordings before the first measure proper of the song consists of a half-note pinch (double-stop or triple-stop lasting for half a measure) on the open 1st (3rd) and 5th strings, followed by two quarter-note pickup notes: open 4th string, then open 3rd string, which leads into the 2-4 or 2-3 slide on the 3rd string that the first measure proper of the break starts with. This is the way that I like to start the song, but at jams, if I feel uncertain that enough people are familiar with how the song starts on the recordings, I will often play a more generic set of pickup notes, so that the song has a better chance of getting off to a strong start with everyone coming in at the right time, like the pickup phrases I recommended using to lead into breaks for the previous songs of the week 'My Home's Across The Blue Ridge Mountains', 'Beautiful Brown Eyes', 'I'll Fly Away', and 'All The Good Times Are Past And Gone'. Fill-ins The two spots in the verses, choruses, and breaks where a fill-in lick will fit (both of these spots are during '1' chord measures) are identical with the spots in which fill-in licks will fit into the previous songs of the week on the '1' chord: 'Nine Pound Hammer', 'Little Birdie', 'I'll Fly Away', and 'Way Down Town'. That is, at the ends of lines 2 and 4, starting in measure 3 of those lines. In the files at the bottom of this write-up I have included a chart of simple A chord fill-ins for fiddle, mandolin, guitar, and banjo. Melody & Harmony The first melody note of the first full measure of the chorus (just like for the verses) is the 3rd of the 1 chord (C# note when in the key of A, B note when in the key of G, etc.) "Oh I love..." Therefore, the corresponding note that is dwelt on here in the tenor harmony part is the 5th of the chord (E note when in the key of A, D note when in the key of G, etc.), and the corresponding note that is dwelt on here in the baritone harmony part is the root note of the chord (A note when it in the key of A, G note when in the key of G, etc.). Observe, in listening to the recordings, that the melody for the chorus (especially in the first and third lines) is different than the melody for the verses, and that the phrasing of the lyrics is different in the chorus than in the verses. The melody sheets provided here at the bottom of this write-up give the melody for the first verse, for when the melody of the chorus differs from the melody of the verses of a song, melody-based breaks on the instruments usually take their cues from the verse melody, rather than the chorus melody. So, in this case, the melody sheets given here should not be used as a reference point for finding the harmony parts for the chorus. Song List 21 songs were played at last night's jam: 13 from the main list, 6 from the additional songs list, and 2 that are on neither list: All The Good Times Are Past And Gone - A Blue Ridge Cabin Home - A Cripple Creek - A Down The Road - B Gathering Flowers From The Hillside - G Light At The River - A Long Journey Home - A New River Train - F Old Joe Clark - A Shortnin' Bread - G Soldier's Joy - D Will The Circle Be Unbroken - C Wreck Of The Old '97 - G Boil The Cabbage Down - A Bury Me Beneath The Willow - A Cluck Old Hen - A Foggy Mountain Top - G Forked Deer - D Mountain Dew - A Lonesome Feeling - G Red Wing - G Happy Pickin', Jason Files: Blue Ridge Cabin Home - melody in A Download File Blue Ridge Cabin Home - banjo tab Download File Blue Ridge Cabin Home - guitar tab Download File Blue Ridge Cabin Home - mandolin tab Download File Hi everyone,
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 Jason Homey & The Snake River Boys - key of F (starts at 4:02) Jason Homey and the Snake River Boys, IBA Open Mic, 4/23/19 - YouTube Jam Videos Here are four youtube jam videos I have made for New River Train. I recommend starting with the one listed second. In that one, I am on guitar, and am playing the song in the key of F. Jason’s YouTube Links – Alphabetical Listing – Parisology (cyberplasm.com) 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 Guitar & Banjo Banjo 5th string tuned to Key of G No capo, play in G G Key of A Capo 2, play as if in G A Key of Bb Capo 3, play as if in G Bb (=A#) Key of B Capo 4, play as if in G B Key of C No capo, play in C G or Capo 5, play as if in G C Key of D Capo 2, play as if in C A or No capo, play in D A Key of E Capo 4, play as if in C B or Capo 2, play as if in D B Key of F Capo 5, play as if in C C or Capo 3, play as if in D C For beginner level 3-finger style 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 files at the bottom of this write-up 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 files written in both C and D. (For a clearer recording of Tony's intro break, check out: https://www.youtube.com/watch?v=aU5vOsAwIYU 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 files (scroll down to the very bottom of this song of the week write-up), 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 files 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 files, 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 files in the song of the week write-up for Bury Me Beneath The Willow: scroll down to the very bottom of the following page: https://www.idahobluegrassassociation.org/jasons-beginner-jam-blog-2019---2020/category/bury-me-beneath-the-willow Song List 19 songs were played at last night's jam: 13 from the main list, 5 from the additional songs list, and 1 that is on neither list: Blue Ridge Cabin Home - A Cripple Creek - A Down The Road - B Gathering Flowers From The Hillside - A Light At The River - A Mama Don't Allow - A New River Train - F Nine Pound Hammer - D Old Joe Clark - A Shortnin' Bread (played twice) - G & D Soldier's Joy - D Way Down Town - A Will The Circle Be Unbroken - D Angeline The Baker - D Boil The Cabbage Down - A Bury Me Beneath The Willow - G Forked Deer - D Hand Me Down My Walking Cane - G Faded Love - D Happy Pickin', Jason Files: New River Train - melody in F Download File New River Train - mandolin tab Download File 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 F & C fill-in licks for fiddle and mandolin Download File C, G & D fill-in licks for guitar 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 Hi everyone,
The song of the week is 'Shortnin' Bread', played as an instrumental. I intend to lead the tune twice at next week's jam: first in the key of G, and then in the key of D, but I recommend practicing it also in the keys of A and C. Recordings Jason Homey & The Snake River Boys - key of G https://www.youtube.com/watch?v=-1NKw99Anlo Hillary Klug - key of D https://www.youtube.com/watch?v=dsefjHKdmFM Flatt & Scruggs - key of G (starts at 0:49) https://www.youtube.com/watch?v=0FgpQyk5ibw Ron Block - key of G https://www.youtube.com/watch?v=zFUvwpqPb8E David Parmley & Cardinal Tradition - key of A https://www.youtube.com/watch?v=hN6u9FnCOrE Jam Videos Here are four youtube jam videos I have made for Shortnin' Bread. Jason’s YouTube Links – Alphabetical Listing – Parisology (cyberplasm.com) Form & Arrangement As played at the jams, and on the Snake River Boys and Hilary Klug recordings and the jam videos, Shortnin' Bread is a two-part fiddle tune. Each part is 4 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. But, as you can hear on the other recordings, this is not the only way to arrange the tune. Since each part is 4 measures long, it takes 16 measures (4x4) to get through a single complete break for Shortnin' Bread, when the tune is played consistently with an AABB form. This is half the length of a single AABB form break for 'Boil The Cabbage Down', 'Buffalo Gals', 'Liberty', 'Old Joe Clark' and 'Soldier's Joy'. For, in those tunes each part is 8, instead of only 4, measures long. Progression Both parts of Shortnin' Bread use the same chord progression: 1 1 1 5/1 That is, three measures of the 1 chord, followed by half a measure of the 5 chord, followed by half a measure of the 1 chord. The progression is played four times to get through one complete round of the AABB form. This progression shows up frequently in fiddle tunes in which each part is only 4 measures long. Other tunes besides Shortnin' Bread that use this progression for at least one of their parts include 'Cotton-Eyed Joe' (both parts), 'Cripple Creek' (B-Part), 'Cumberland Gap' (both parts), 'The Eighth Of January' (B-Part), and 'Sally Goodin' (both parts). In the key of G: 1 = G; 5 = D. In the key of A: 1 = A; 5 = E. In the key of C: 1 = C; 5 = G. In the key of D: 1 = D; 5 = A. Melody The notes that make up the melody for Shortnin' Bread form a scale that is called the Major Pentatonic Scale. The Major Pentatonic Scale consists of the 1st, 2nd, 3rd, 5th, and 6th notes of the Major Scale. The following chart shows the notes that make up the G, A, C, and D Major Pentatonic Scales. 1 2 3 5 6 (8 = the same note as 1, but an octave higher) do re mi sol la (do) Key of G: G A B D E (G) Key of A: A B C# E F# (A) Key of C: C D E G A (C) Key of D: D E F# A B (D) The melodic content of many of the breaks on the recordings given here deviate significantly enough from the version of the melody I have provided in the files at the bottom of this write-up to warrant comment. The most commonly recurring differences involve little more than a reversal of the order in which two consecutive melody notes are played. For example, to reproduce a close semblance of the implied melody for the A-Part in the banjo breaks on the Flatt & Scruggs, Ron Block, and David Parmley recordings, all one needs to do is to play, when in the key of G, E notes in place of the D notes, and D notes in place of the E notes, or when in the key of A, F# notes in place of E notes, and E notes in place of F# notes. When playing breaks for Shortnin' Bread at the jam, I tend to make use of both types of versions of the melody, freely mixing them together with each other in a variety of combinations, much as I did in my banjo breaks on the Snake River Boys recording. Keys On the main song list for the beginner jam, I have given the keys of G, A, C, and D all as options for playing Shortnin' Bread at the jam. I have included in the files section melody sheets in standard notation and in mandolin tab written in A (in addition to the ones written in G), so that one can easily compare the notes used to play the melody in A with the corresponding notes used to play the melody in G. For the key of A on guitar and banjo, capo the 2nd fret and play as if in G. For the key of C, on fiddle and mandolin, lower the fingerings for the key of G down one string. For the key of D, on fiddle and mandolin, lower the fingerings for the key of A down one string. For banjo and guitar, I have included melody sheets in the keys of C and D in addition to the key of G. Another good way to play the tune on banjo and guitar in the key of C is to capo the 5th fret and play as if in G, and another good way to play the tune on banjo and guitar in the key of D is to capo the 2nd fret and play as if in C. 8 Potato Intros On the Snake River Boys and the Hilary Klug recordings, and on the jam videos, the tune starts with an 8 Potato Intro before the first A-Part is played. This is a highly effective way to start most fiddle tunes at jams. An 8 Potato Intro consists essentially in 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 an intro break. In the files section at the bottom of this write-up, I have included sheets that show good ways to play on fiddle, mandolin, guitar, and banjo, 8 Potato Intros for the keys of G and A. I have also included on these sheets, simpler (unfortunately, also less effective when both are played correctly) ways to play this type of intro on each of these instruments for those who are new to playing this type of intro, and may have difficulty playing the more developed forms of the 8 Potato Intros with the right feel and with rock-solid timing. For 8 Potato Intros in the key of D (and for banjo and guitar, the key of C also), refer to the attachments in the song of the week write up for Soldier's Joy: https://www.idahobluegrassassociation.org/jasons-beginner-jam-blog-2019---2020/category/soldiers-joy (scroll down to the very bottom of the page) For 8 Potato Intros in the key of C on fiddle and mandolin, drone C and E notes together, with the C being the lower of the two notes. This can be done on either the fourth and third strings (5th fret on the fourth string and 2nd fret on the third string on mandolin), or on the second and first strings (3rd fret on the second string on mandolin, and open first string). Double Endings On all but one of the recordings of Shortnin' Bread given here (and also on the four jam videos), there are an extra 4 measures played at the end of the tune after the final B-Part. These are called 'double endings', for they consist of two 2-measure length ending licks played back to back. (On the Hilary Klug recording, there are only an extra 2 measures played at the end. This is a single ending. But the last 2 measures of her final A-Part sound much like the first half of a typical double ending, and she plays these right before going into her single ending.) In the files at the bottom of this write up, I have included examples of double-endings for fiddle, mandolin, guitar, and banjo suitable for most key of G and key of A fiddle tunes. For double endings in the key of D (and for banjo and guitar, the key of C also), refer to the attachments in the song of the week write up for Soldier's Joy. https://www.idahobluegrassassociation.org/jasons-beginner-jam-blog-2019---2020/category/soldiers-joy (scroll down to the very bottom of the page) For key of C double endings on fiddle and mandolin, take the fingerings you use for the key of G double endings and lower them by one string, so that you will have C notes in place of G notes, A notes in place of E notes, G notes in place of D notes, etc. Song List 20 songs were played at last night's jam: 13 from the main list, 6 from the additional songs list, and 1 that is on neither list: All The Good Times Are Past And Gone - A Before I Met You - C Blue Ridge Cabin Home - A Down The Road - G Gathering Flowers From The Hillside - G Liberty - D Long Journey Home - A Mama Don't Allow - A Old Joe Clark - A Shortnin' Bread - A Way Down Town - A Will The Circle Be Unbroken - G Wreck Of The Old '97 - C Angeline The Baker - D Beautiful Brown Eyes - C Foggy Mountain Top - G Hand Me Down My Walking Cane - A I'm Waiting To Hear You Call Me Darling - D Little Cabin Home On The Hill - A Lonesome Feeling - G Happy Pickin', Jason Shortnin' Bread - melody in G Download File Shortnin' Bread - melody in A Download File Shortnin' Bread - mandolin tab (G) Download File Shortnin' Bread - mandolin tab (A) Download File Shortnin' Bread - guitar tab Download File Shortnin' Bread - guitar tab (D) Download File Shortnin' Bread - guitar tab (C) Download File Shortnin' Bread - banjo tab Download File Shortnin' Bread - banjo tab (D) Download File Shortnin' Bread - banjo tab (C) Download File 8 Potato Intro in G Download File 8 Potato Intro in A Download File Double Endings in G Download File Double Endings in A Download File Hi everyone, The song of the week is 'Mama Don't Allow' in the key of A. Recordings The first two of the three recorded versions of Mama Don't Allow given below are very different from each other. The first, from Flatt and Scruggs, is a straightforward Bluegrass studio recording arrangement of the song, featuring only three lead instruments (banjo, fiddle, and dobro), while the second, from Doc Watson, has more of a jam feel to it, and, in addition to featuring traditional Bluegrass instruments (mandolin, banjo, guitar, etc.) it also includes and features some instruments that are not among the first instruments that usually come to mind when one thinks of Bluegrass (drums, piano). Flatt & Scruggs - key of G https://www.youtube.com/watch?v=jfXlI6Fz4j0 Doc Watson - key of A https://www.youtube.com/watch?v=U-ODoOHoNyQ Jason Homey & The Snake River Boys - key of A (starts at 12:09) Jason Homey and the Snake River boys, IBA Open Mic, 10_22_19 - YouTube Jam Videos Here are four youtube jam videos I have made for Mama Don't Allow. I recommend playing along with the one listed first, in which I am on guitar playing the song in the key of A, and with the one listed third, in which I am on mandolin (also in the key of A). Jason’s YouTube Links – Alphabetical Listing – Parisology (cyberplasm.com) Progression The chord progression for Mama Don't Allow is: 1111 1155 1144 1511 (Progression V2 on the Basic Chord Progressions handout.) In the key of A: 1=A; 4=D; 5=E In the key of G: 1=G; 4=C; 5=D. Use of Fill-ins in Backup Playing While listening to the recordings provided here, observe that the instruments not only take turns playing breaks, as determined by the lyrics, but also take turns being featured as the dominant backup instrument behind the vocals. As soon as the name of the instrument is mentioned in the first line of the verse, this is an opportunity for that instrument to play a fill-in lick during the two measures of 'dead space' that occur in the vocal between the last syllable of the first line of the verse and the first syllable of the second line of the verse. Two measure length 'dead' spaces' occur also after the last syllable of the second line and after the last syllable of the fourth line; so, in each verse there are three different spots where the appropriate instrument can announce its presence by playing a fill-in lick in anticipation of its upcoming break. In the recorded versions, most of the fill-in licks used are not among the simpler ones to learn to play. In addition to the melody sheets for Mama Don't Allow, I have included in the attachments examples of a round of backup for each of the five instruments (including bass) that are almost always present at the jams. These sheets give examples of more widely accessible fill-in licks for each of the instruments, and show where to put the fill-ins in the progression. In the measures that I have left blank on the sheets, just play what you usually play for backup. (There are two example sheets given for banjo, since, depending on what order in which one learns one's rolls, chord shapes, etc., some banjo players are likely to find the set of fill-ins on the first sheet considerably easier to play than the set of fill-ins on the second sheet, while other banjo players may find that nearly the exact opposite is the case for them.) On the backup sheets, 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 measure begins. 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 rest of equivalent time value in place of the note in parentheses that occurs at the beginning of the measure. In other cases, you may find yourself playing some other suitable note or notes in place of the ones in parentheses. Notice that during the final verse of Mama Don't Allow on the Doc Watson recording, several instruments play fill-in licks during the 'dead spaces' simultaneously. This is because the break that follows this verse is an 'everybody' break. For, in the final verse, Doc does not name an instrument. The same thing happens at the jams when, instead of naming an instrument in a verse, I sing "Mama don't 'low no bluegrass music 'round here." Breaks With the exception of the 4 chord measures in line 3, there is not much to the melody of Mama Don't Allow. So when creating a break for this song, try to do more than just merely shuffle (or on banjo, roll) through the melody. Make use of fill-in licks, and any other licks you know that will fit over the chords being played. These licks need not always imply the melody. Notice that in many of the breaks on the recordings, licks are used that have little or nothing to do with the melody of the song. Bass Break As commonly played at jams, the bass player is given a break on Mama Don't Allow, whereas for most other songs this is not done. Bass breaks for this song are not usually melody-based, so in place of a melody sheet for bass, I have included a bass break for Mama Don't Allow in A that is similar to the one played on the Snake River Boys live performance of the song given in the recordings section at the top of this write-up. I have also included in the attachments a banjo tab that illustrates a very common way for all instruments to play backup during a bass break. Since this is significantly different from how backup is played on the instruments during banjo, guitar, mandolin, and fiddle breaks, I recommend taking a glance at this sheet if you do not have much experience with playing backup during a bass break, and I also recommend listening to and playing along with the mandolin jam video for Mama Don't Allow that I provided the link for in the jam videos section of this write-up. While I have written the backup sheet for the bass break only in banjo tab, I have included it here not only for the sake of banjo players. Guitar, mandolin, fiddle, dobro, harmonica players, etc., can also use it to get an idea of what to do for backup during a bass break on Mama Don't Allow at the jams. Translated into guitar terms, for instance, the sheet indicates that one would play a strum for the specified chord at the beginnings of measures 1,3,5,7,9,11,13, and 14 and only allow the notes of the chord to ring on for the space of a quarter note (there should be dead silence from the backup instruments in all the places where rests are written on the page), and then play a fill-in lick starting in measure 15 and extending into the beginning of measure 16 before resuming one's ordinary way of playing backup again. On guitar, the most typical fill-in to use here would be some form of the 'G-run'. For one example of the 'G-run', refer to measure 15 plus the first note in measure 16 on the attached sheet titled 'Mama Don't Allow - guitar - fill-ins in backup.' Bass Verse For the verse that is sung right before the bass break, the way that we have played backup on this verse at the jams also differs from how we have played backup for the other verses. At the beginning of measure 3 of lines 1 and 2, we have played a quarter note (whether that be a single note, a double stop, or a chord) and then we have played nothing during the remainder of the measure and nothing during the measure that follows (i.e., measure 4 of lines 1 and 2), thereby allowing for the fill-ins that our bass player(s) have played in those spots to be more clearly heard. (Refer to the sheet in the attachments titled 'Mama Don't Allow - bass - fill-ins for bass verse' to see examples of bass fill-ins in lines 1 and 2 of a round of backup.) To hear what this sounds like, refer back to the Snake River Boys live performance of Mama Don't Allow in the recordings section: the bass verse starts at 13:54 in the video. Pickup Notes The last 3 notes printed on the six fill-ins in backup sheets in the attachments are the set of pickup notes that I recommend using to lead into most of your breaks for Mama Don't Allow. Song List 19 songs were played at last night's jam: 14 from the main list, 4 from the additional songs list, and 1 that is on neither list: All The Good Times Are Past And Gone - A Blue Ridge Cabin Home - A Cripple Creek - A Gathering Flowers From The Hillside - G Liberty - D Light At The River - C Little Birdie - C Long Journey Home - A Mama Don't Allow - A New River Train - F Nine Pound Hammer - A Old Joe Clark - A Soldier's Joy - D Will The Circle Be Unbroken - G Angeline The Baker - D Cluck Old Hen - A Forked Deer - D Foggy Mountain Top - G Faded Love - D Happy Pickin', Jason Bass:
Mama Don't Allow - Bass backup Download File Mama Don't Allow - bass break in A Download File Mama Don't Allow - bass - fill-ins for bass verse Download File Banjo: Mama Don't Allow - banjo tab Download File Mama Don't Allow - banjo - fill-ins in backup 1 Download File Mama Don't Allow - banjo - fill-ins in backup 2 Download File Guitar: Mama Don't Allow - guitar tab Download File Mama Don't Allow - guitar - fill-ins in backup Download File Mandolin: Mama Don't Allow - mandolin tab in A Download File Mama Don't Allow - mandolin - fill-ins in backup Download File Fiddle/Melody: Mama Don't Allow - melody in A Download File Mama Don't Allow - fiddle - fill-ins in backup Download File Hi everyone,
The song of the week is 'Gathering Flowers From The Hillside' in the key of G. Recordings Earl Taylor & Jim McCall - key of G Gathering Flowers FromThe Hillside - Earl Taylor & Jim McCall with The Stone Mountain Boys - YouTube Wilma Lee & Stoney Cooper - key of A (starts at 2:55) Sing The Carter Family's Greatest Hits [1977] - Wilma Lee & Stoney Cooper - YouTube Hylo Brown - key of F (starts at 28:00: last song on the record) Sings Bluegrass Songs That Wonderful, Old Time Way [1959] - Hylo Brown - YouTube Jason Homey & The Snake River Boys - key of G (starts at 3:48) Jason Homey and the Snake River boys, IBA Open Mic, 10_22_19 - YouTube Jam Videos Here are three youtube jam videos I have made for Gathering Flowers From The Hillside. I recommend starting with the one listed first. In that one, I am on guitar. Jason’s YouTube Links – Alphabetical Listing – Parisology (cyberplasm.com) Progression The chord progression for 'Gathering Flowers' is: 1111 1155 1111 1511 This is Prog. V1 on the Basic Chord Progressions handout. In the key of G: 1 = G; 5 = D. The G chord consists of the notes G, B, and D. The D chord consists of the notes D, F#, and A. Notice the relation between the progression for 'Gathering Flowers' (V1) and the progressions used to play 'Mama Don't Allow' (V2), 'Foggy Mountain Top' (V6), and 'Bury Me Beneath The Willow' (V7). V1 simply stays on the '1' chord in all the spots where these other progressions have a '4' chord. In all four of these progressions, the locations of the '5' chords are the same (measures 3 and 4 of line 2, and measure 2 of line 4), and in all these progressions, measures 1 and 2 of lines 1, 2, and 3, and measures 1, 3, and 4 of line 4 have the '1' chord. Melody The melody of Gathering Flowers shares a lot in common with the melody of Foggy Mountain Top. The only places where the two melodies significantly deviate from each other are from the second half of measure 2 through to the first half of measure 4 in lines 1 and 3. Compare the melody sheets for Gathering Flowers at the end of this write-up with the melody sheets in the attachments in the song of the week write-up for Foggy Mountain Top: https://www.idahobluegrassassociation.org/jasons-beginner-jam-blog-2019---2020/category/foggy-mountain-top (scroll down to the bottom of the page) Harmony Just like in Foggy Mountain Top, a previous song of the week, each musical line of the melody for Gathering Flowers starts with the same note: a D note when in the key of G, which is the highest note in the melody. The syllable that coincides with the beginning of each musical line of the chorus is shown in bold type below. On these syllables, the tenor harmony note is a G note when in the key of G, and the baritone harmony note is a B note when in the key of G. I've been gathering flowers from the hillside, To wreath around your brow; But you kept me waiting so long dear, That the flowers have all withered now. Fill-ins There are four dead spaces in the melody of each verse and chorus of Gathering Flowers that are long enough for a fill-in lick to be used to fill up these spaces. These occur at the end of every musical line, starting in measure 3 of the line and ending in measure 4 of the line, which is the same location within a line that a fill-in fits into the progressions for all the previous songs of the week that I have discussed the use of fill-ins in connection with. Here is a summary of most of the songs of the week since September of last year in which fill-ins fit into one or more of their lines: line 1 line 2 line 3 line 4 My Home's Across The Blue Ridge Mountains no fill no fill no fill fillin (1) & Beautiful Brown Eyes chorus Nine Pound Hammer, Little Birdie, I'll Fly Away, no fill fillin (1) no fill fillin (1) Will The Circle Be Unbroken & Way Down Town Beautiful Brown Eyes verses, no fill fillin (5) no fill fillin (1) Bury Me Beneath The Willow, All The Good Times Are Past And Gone, A Memory Of You & Foggy Mountain Top Gathering Flowers From The Hillside fillin (1) fillin (5) fillin (1) fillin (1) The numbers in parentheses refer to the chord that is called for at the time of the dead space in which the fillin lick is played. Gathering Flowers provides more opportunity than any of the other songs for practicing fillins, and since there is room to fit three fillins on the 1 chord in each verse and chorus, it also provides a good opportunity for practicing varying your choice of fillins, if you know how to play more than one fillin for the 1 chord. For G and D fillins (the 1 and 5 chords when in the key of G), refer back to the attachments in the song of the week write ups for Bury Me Beneath The Willow and I'll Fly Away: Beginner Bluegrass Jam Songs - Idaho Bluegrass Association (scroll down to the bottom of the page) Beginner Bluegrass Jam Songs - Idaho Bluegrass Association (scroll down to the bottom of the page) Pickup Notes Concerning Pickup Notes into a break for Gathering Flowers. Instead of playing only the 2 pickup notes (B and C) that are sung in the vocal melody (see the melody sheets at the bottom of this write-up) to lead into the first complete measure of your break, it is often more effective at jams to add a 3rd quarter note, a C#, after these two notes, especially if you the one kicking off the song with an intro break. The chromatically ascending sequence of pickup notes: B, C, C# to lead to a D note on a G chord is commonplace on good Bluegrass records (good examples of this are at the beginning of the banjo intro break and at the beginning of the fiddle break on the first youtube link given here for Gathering Flowers). Three-quarters of a measure, rather than just half a measure, worth of pickup notes gives everyone at the jam a better sense of what the tempo of the song will be, so that they can all start playing backup confidently behind the person playing the intro break at the beginning of the first complete measure of the break. This is a good case in point illustrating how it is sometimes better to make modifications to the melody as sung, rather than to follow the melody slavishly, when creating melody-based breaks. Note: Many melodies do not have any built-in pickup notes leading into their first complete measure; in these cases one needs to create a pick-up measure to have an effective intro break for the song. This can be done by borrowing pickup phrases from other songs in which the first full measure of the song starts with the same note and same chord as the song in question, or one can learn common generic pickup phrases used on Bluegrass records for each specific situation: e.g., a generic pickup phrase leading to a B note on a G chord, a generic pickup phrase leading to a C note on a C chord, etc. Song List 19 songs were played at the jam on Thursday: 12 from the main list, 6 from the additional songs list, and 1 that is on neither list: All The Good Times Are Past And Gone - A Cripple Creek - A Gathering Flowers From The Hillside - G Liberty - D Light At The River - A Long Journey Home - A Nine Pound Hammer - B Old Joe Clark - A Soldier's Joy - D Way Down Town - E Will The Circle Be Unbroken - A Wreck Of The Old '97 - D Angeline The Baker - D Cluck Old Hen - A Cryin' Holy - G Foggy Mountain Top - C Hand Me Down My Walking Cane - G I'm Waiting To Hear You Call Me Darling - E Auld Lang Syne - Bb Happy Pickin', Jason Gathering Flowers From The Hillside - banjo tab Download File Gathering Flowers From The Hillside - guitar tab Download File Gathering Flowers From The Hillside - mandolin tab Download File Gathering Flowers From The Hillside - melody in G Download Fil Hi everyone, In the new year, the Beginner Bluegrass Jam will continue to be held on Thursdays from 6:30 - 9pm at the Ironwood Bar & Grill. In the attachments, I have included new song lists for the jam. Starting next week, these will replace the song lists that we used for the jam between September and December 2022. The song of the week is 'All The Good Times Are Past And Gone' in the key of A. This song is played in 3/4 time. Recordings Flatt and Scruggs - key of A https://www.youtube.com/watch?v=0LnhLmyOKmM Jimmy Martin - key of C https://www.youtube.com/watch?v=QBZFUNecJN8 Jason Homey & The Snake River Boys - key of A (starts at 11:23) Jason Homey and the Snake River Boys, IBA Open Mic, 6_25_19 - YouTube Jam Videos Here are three youtube jam videos I have made for All The Good Times Are Past And Gone. I recommend starting with the one listed first. In that one, I am on guitar. Jason’s YouTube Links – Alphabetical Listing – Parisology (cyberplasm.com) Progression The chord progression for All The Good Times Are Past and Gone is: 1141 1155 1141 1511 This is Progression V6 on the Basic Chord Progressions handout. Other songs, and parts of songs, on the song lists for the beginner jam that use this same progression are Amazing Grace, the verses and breaks of Before I Met You, Foggy Mountain Top, the verses and breaks of I've Lived A Lot In My Time, Light At The River, and the verses and breaks of Little Cabin Home On The Hill. In the key of A: 1 = A; 4 = D; 5 = E. With a capo on the 2nd fret, the chord shapes become: 1 = G; 4 = C; 5 = D. 3/4 Time In 3/4 time (a.k.a. Waltz time), there are 3 beats per measure. On guitar, when playing rhythm, one measure will consist of 'boom-chuck-chuck', i.e., 'bassnote-strum-strum', rather than the more common rhythm for bluegrass songs of 'boom-chuck-boom-chuck'. Notice that this means that in 3/4 time it takes two measures, instead of one, to get through a cycle of root-5 (alternating bass) on guitar (and on bass, if you are playing only one note per measure). For this reason, it can be useful to think of the chord progression in groups of two measures. Root-5: Guitar, Bass (and Banjo) The root note of each chord is simply the note that has the same letter name as the chord. The '5' of the chord is the 5th note of the major scale that has the same letter name as the chord. The first five notes of the A major scale are A, B, C#, D, and E, so when playing 'root-5' over an A chord, this means that you are alternating between an A note and an E note. There are six major (and six minor) chords for which identifying the 5 involves nothing more than counting up the musical alphabet, without having to worry about sharps or flats. The six are: A, C, D, E, F, and G. So, the 5 of C (counting C as 1) is G (1,2,3,4,5: C,D,E,F,G), the 5 of D is A, the 5 of E is B, the 5 of F is C, and the 5 of G is D. 3/4 Time Root-5: Guitar, Bass (and Banjo) Taking the progression two measures at a time, the first two measures allow one to play 'root-5' over the 1 chord, but the second group of two measures (i.e., the third and fourth measures) allow one to play only the root note of the chords called for there, because the second of these two measures has a different chord than what the first of these two measures does. So, this scenario is similar to what happens in the non-3/4 time songs we play at the jam in which a single measure is split between two chords (e.g., the 7th measure of each of the parts of Boil The Cabbage Down, Old Joe Clark, and Soldier's Joy, or the 2nd and 4th measures of Down The Road and the A-Part of Cripple Creek). The second line of the progression for All The Good Times allows one to play root-5 over the 1 chord and then over the 5 chord. Notice that this means that two root notes over the 1 chord end up being played back to back, one in the last measure of the first line, and one in the first measure of the second line, since the first line of the progression ended with the 1 chord, and there was only time to play the root note of the chord, but not the 5, because the third measure of the first line called for a chord other than the 1 chord. Notice that on the Flatt and Scruggs recording, an extra measure of the 1 chord is played at the end of each of the breaks before the vocal comes in. The same thing happens on the Jimmy Martin recording, except that after the mandolin intro break, two extra measures of the 1 chord are played before the vocal comes in. On The Snake River Boys recording, 2 extra measures are played at the end of the first three breaks, each of which are followed by a verse, but no extra measures are played at the end of the fourth (last) break which is followed by a chorus. When playing this song at the jam, these kinds of things may or may not happen, so be prepared for any number of these scenarios. The safest thing to do here is to just keep on hitting the root note of the chord (on bass and guitar) at the beginning of each of these potential additional measures of the '1' chord so as to guarantee that you will be playing the root note of the chord at the time when the progression starts over from the beginning. 3/4 Vamp/Chop: Mandolin, Fiddle, Banjo, and Dobro When playing a 'vamp' or 'chop' rhythm on mandolin, banjo, fiddle, or dobro, a measure of 3/4 time will consist of 'rest-chuck-chuck', which is the same as the guitar rhythm, just without the bass note at the beginning of the measure. 3/4 Rolls (Banjo) When playing a roll in 3/4 time on banjo, you will have time for a maximum of 6 plucked notes per measure (counted as '1 & 2 & 3 &'), rather than the usual maximum of 8 notes per measure ('1 e & a 2 e & a'), Considered in relation to a roll pattern consisting of 8 notes, this usually involves omitting either the last two notes of the roll, or in some cases, the 5th and 6th notes of the roll, or the 3rd and 4th notes of the roll. If approaching playing in 3/4 time from his angle, make sure that the 3/4 time rolls you create by dropping notes from the standard 8 note rolls don't result in the need to play two 8th notes back to back with the same finger of your picking hand. 3/4 Licks There are many standard (common time: 4/4, or cut common time 2/2) licks on banjo, as well as on the other bluegrass instruments, that have 3/4 time equivalents. The 3/4 time versions of these licks in many cases can be derived from the common time or cut common time lick by omitting a quarter of a measure's worth of the least essential notes of the lick. To help illustrate this, I have included in the Files section at the bottom of this write-up a chart of A and E fill-in licks for fiddle and mandolin, and G and D fill-in licks for banjo and guitar (capo 2 to raise them to A and E), presented in the context of 2 measures worth of 3/4 time backup playing. The two A measures (written as G measures, capo 2, for banjo and guitar) fit the last two measures (that is, measures 15 and 16) of the progression for All The Good Times when played in the key of A. The two E measures (written as D measures, capo 2, for banjo and guitar) fit the last two measures of the second line (that is, measures 7 and 8) of the progression for All The Good Times when played in the key of A. Ending the Song In the Files section at the end of this write-up, I have included a chart of 'Waltz Time Endings in the Key of A' which shows simple, but effective, ways on fiddle, mandolin, guitar, and banjo to end 'All The Good Times Are Past And Gone', and almost any other song in 3/4 time when played in the key of A. These endings are played for the last 2 measures of the final chorus. They are not 'tack-on' endings to be played after the last 2 measures of the final chorus. The first beat of the first measure shown for each of the endings coincides with the last sung syllable in the song. Each of the endings shown are easily transposable to each of the other 7 major keys that songs are played in at the jam. Fiddle & Mandolin Breaks: Easy Double Stops When played in the key of A, the melody of All The Good Times Are Past And Gone can easily be harmonized in the context of a melody-based fiddle or mandolin break, by playing the next highest open string together with the string that the melody is being played on. On the A chord measures, play the open E string along with the A, B, and C# melody notes that are played on the A string. and play the open A string along with the E melody note that is played on the D string. On the E chord measures, play the open E string along with the A, B, and C# melody notes that are played on the A string. On the D chord measures, play the open A string while playing the F# and A melody notes on the D string. All of this works well because the A and E notes (2nd and 1st open strings) are notes that are part of the A chord, the A note is also part of the D chord, and the E note is also part of the E chord. Lyrics I sing the three verses that are on the Flatt & Scruggs recording, and occasionally add Jimmy Martin's second verse to this for a fourth verse. For the chorus, I sing the set of lyrics that are on the Flatt & Scruggs recording. Notice that there is a difference between the lyrics for the 1st and 3rd lines of the chorus. The first line is the same as the title of the song ('All the good times are past and gone'), but the third line is: 'All the good times have passed and gone.' Harmony Since the starting note for the melody of the chorus is the third of the 1 chord (a C# note when in the key of A), the starting note for the tenor harmony is the fifth of the 1 chord (an E note when in the key of A), and the starting note for the baritone harmony is the root of the 1 chord (an A note when in the key of A). On the Snake River Boys performance of All The Good Times Are Past And Gone included in the Recordings section of this write-up, you might notice that although I sing the melody on the verses, I switch to singing the baritone harmony on the choruses, while the bass player takes over singing the melody on the choruses. Song List 20 songs were played at last night's jam: 11 from the main list, 6 from the additional songs list, and 3 that are on neither list: All The Good Times Are Past And Gone - A Boil The Cabbage Down - A Buffalo Gals - A Bury Me Beneath The Willow - G I'll Fly Away - G Mama Don't Allow - D A Memory Of You - A New River Train - F Shortnin' Bread - G Soldier's Joy - D Will The Circle Be Unbroken - G Cluck Old Hen - A Jambalaya - C Liberty - D Little Cabin Home On The Hill - A Mountain Dew - G Will You Be Loving Another Man - A Auld Lang Syne - G Silent Night - C Sitting On Top Of The World - G Have a happy New Year! Jason Files: All The Good Times - banjo tab Download File All The Good Times - guitar tab Download File All The Good Times - mandolin tab Download File All The Good Times - melody in A Download File Waltz Time Endings in the Key of A Download File E Chord Fill-in Licks in Waltz Time Download File A Chord Fill-in Licks in Waltz Time Download File
Hi everyone,
The song of the week is 'Soldier's Joy' in the key of D. Recordings Ralph Stanley and the Clinch Mountain Boys (guitar & fiddle breaks) (starts at 3:50) - key of D http://www.youtube.com/watch?v=xyZWC5CVdaI Larry Rice and the Bottom Dollar Boys (mandolin, fiddle, Scruggs-style banjo: tuned GCGBD, capo 2, & guitar breaks) - key of D http://www.youtube.com/watch?v=wzZ2tSENgTY Earl Scruggs & John McEuen: a good example of Scruggs-style banjo and Clawhammer banjo being played together. Scruggs' banjo is tuned GCGBD; John McEuen's banjo is tuned GCGCE. Note: since there is no fiddle or mandolin here, they get away with playing Soldier's Joy in C (no capo) instead of D (capo 2). https://www.youtube.com/watch?v=B5OKxPE59Bo Jason Homey & The Snake River Boys (fiddle, mostly Scruggs-style banjo, with a bit of single-string and melodic styles: tuned ADGBD, and guitar breaks) (starts at 7:53) - key of D Jason Homey and the Snake River boys, IBA Open Mic, 10_22_19 - YouTube Jam Videos Here are three youtube jam videos I have made for Soldier's Joy. I recommend starting with the one listed first. In that one, I am on guitar. Jason’s YouTube Links – Alphabetical Listing – Parisology (cyberplasm.com) Form & Key Soldier's Joy follows the most typical form for traditional fiddle tunes: AABB, with each A-Part and each B-Part being 8 measures long. (Total: 32 measures). Like most traditional fiddle tunes, there is only one key that it is usually played in: in this case 'D'. Progression A-Part: 1 1 1 5 1 1 1/5 1 (Prog. Y1 on the Basic Chord Progressions handout.) B-Part 1 4 1 5 1 4 1/5 1 (Prog. Y7 on the Basic Chord Progressions handout. This is the same progression that is used to play the A-Part of Boil The Cabbage Down.) In the key of D: 1 = D; 4 = G; 5 = A. 'To capo or not to capo' Many banjo players and some guitar players prefer to play Soldier's Joy in D by capoing to the 2nd fret and then playing it as if in 'C'. For this reason, I have included both key of D and key of C tabs for banjo and guitar in the files at the bottom of this write up.. If you have the capo on the 2nd fret for playing Soldier's Joy in D, then your chord shapes need to be the same as those for playing in the key of C without a capo: 1=C; 4=F; 5=G. Banjo Tunings On banjo, no matter which of these two options you choose: capo 2 or no capo, you will need to raise your 5th string up to an A note (i.e., spike/capo your 5th string to the 7th fret) in order to be able to play an effective Scruggs-style or Clawhammer-style break. Most Scruggs-style banjo players who prefer the capo 2 option tune their 4th string down a whole step so as to retain access to the lowest melody note in the tune when playing within the first 5 frets. (This is called 'C tuning': without the capo the 4th string will be tuned down to a C note. With the capo on the 2nd fret, the 4th string will then register as a D note when not fretted.) Most clawhammer banjo players play Soldier's Joy either by tuning to Double C tuning: GCGCD or Open C tuning: GCGCE, and then capo to the 2nd fret in order to be playing in D. 8 Potato Intros Since the most effective way to start most fiddle tunes at a jam is by playing an 8 potato intro before starting into the first A-Part of your intro break, I have included a file at the end of this write-up that gives 8 potato intros suitable for Soldier's Joy and most other key of D fiddle tunes, for fiddle, mandolin, guitar, and banjo. Note: If you have pickup notes leading into the first complete measure of your break, you must cut the 8 potato intro short by playing the pickup notes in place of the corresponding part of the last measure of the 8 potato intro, so that you end up with exactly 4 measures worth of music, no more and no less, before the first full measure of your opening break starts. Breaks In place of the melody sheets that I usually include in the files section of the song of the week emails, I have given an assortment of breaks for fiddle, mandolin, guitar, 3 finger-style banjo, and clawhammer banjo. For those of you who find it helpful to learn from sheet music/tab, I suggest taking a look at each of the breaks provided for your instrument before you try any of them out. And, there is no need to learn/memorize any of the breaks exactly as written. You may wish to mix and match some of them with each other, and with the ways that you already play breaks for the tune, so as to create breaks that work best for you, both in terms of your level of playing ability, and personal preferences. Also, if you are able to read music written for instruments other than the one that you play at the jam, you can get additional ideas for breaks on your instrument from the breaks written for other instruments. Double Endings For most songs that use a progression that ends with two measures of the 1 chord (e.g., songs that use any of the progressions in row V, W, or X on the basic chord progressions chart), it is common for a two-measure ending lick to be played on one or more of the instruments over the last two measures of the progression to end the song. Most AABB tunes, however, do not use progressions that end with two measures of the 1 chord, and the last melody note in their parts almost always occurs at either the beginning or in the middle of the last measure of the progression, rather than at the beginning of the second to last measure of the progression. For these reasons, ending licks for AABB fiddle tunes almost always are played after the last measure of the final B-Part rather than during the tail-end of the final B-Part. In the files at the bottom of this write-up, I have included examples of double-endings for fiddle, mandolin, guitar, and banjo suitable for most key of D fiddle tunes. These are called 'double endings', for they consist of two 2-measure length ending licks played back to back. Song List 16 songs were played at last night's jam: 9 from the main list, 2 from the additional songs list, and 5 that are on neither list: Beautiful Brown Eyes - A Boil The Cabbage Down - A Buffalo Gals - G Bury Me Beneath The Willow - A Foggy Mountain Top - G Gathering Flowers From The Hillside - G I'll Fly Away - G Soldier's Joy - D Will The Circle Be Unbroken - G Hand Me Down My Walking Cane - A Mountain Dew - A Faded Love - D Jingle Bells - C Go Tell It On The Mountain (played twice) - A & G Good King Wenceslas - G Silent Night - C Have a merry Christmas! Jason 8 Potato Intro in D Download File Double endings in D Download File Soldier's Joy - clawhammer banjo break 1 Download File Soldier's Joy - clawhammer banjo breaks 2 & 3 Download File Soldier's Joy - Scruggs-style banjo break 1 Download File Soldier's Joy - Scruggs-style banjo break 2 Download File Soldier's Joy - mandolin break 1 Download File Soldier's Joy - mandolin break 2 Download File Soldier's Joy - guitar break 1 Download File Soldier's Joy - guitar break 2 Download File Soldier's Joy - guitar break 3 Download File Soldier's Joy - fiddle (mandolin, guitar, melodic-single string banjo) break 1 Download File Soldier's Joy - fiddle (mandolin, guitar, melodic-single string banjo) break 2 Download File Soldier's Joy - fiddle (mandolin, guitar, melodic-single string banjo) break 3 Download File Hi everyone,
The song of the week is 'Will The Circle Be Unbroken' in the key of G. Recordings The Nitty Gritty Dirt Band - on their classic 3-record 'Will The Circle Be Unbroken' album: with Earl Scruggs on banjo, Vassar Clements on fiddle, Doc Watson on guitar, and Mother Maybelle Carter, Jimmy Martin, and Roy Acuff taking turns singing the verses: key of A Will The Circle Be Unbroken - YouTube Bill Monroe (live) - key of Bb https://www.youtube.com/watch?v=67Uk42Q-51o Ralph Stanley - key of A https://www.youtube.com/watch?v=kFqL6BprLZM Jason Homey & The Snake River Boys - key of G (starts at 15:24) Jason Homey and the Snake River boys, IBA Open Mic, 10_22_19 - YouTube Jam Videos Here are four youtube jam videos I have made for Will The Circle Be Unbroken. I recommend starting with the one listed last. In that one, I am on guitar, and am playing in the key of G. Jason’s YouTube Links – Alphabetical Listing – Parisology (cyberplasm.com) Progression Most often when it has been played at the beginner jam, Will The Circle Be Unbroken uses the same chord progression as I'll Fly Away (Prog. V3 on the Basic Chord Progressions handout): 1111 4411 1111 1511 In the key of G: 1 = G, 4 = C, and 5 = D. In the key of A: 1 = A, 4 = D, and 5 = E. In the key of Bb: 1 = Bb, 4 = Eb, and 5 = F Etc. Other progressions that have been used on recordings and at jams for Will The Circle Be Unbroken include: 1111 4411 1111 5511 (Prog. W3) 1111 4411 1116m 1511 (This is the most common alternative progression at bluegrass jams for Will The Circle Be Unbroken.) 1111 4411 116m6m 1511 (In the key of G: 6m=Em. In the key of A: 6m = F#m. In the key of Bb: 6m = Gm. Etc. The 6m chord is the relative minor chord of the 1 chord.) Since the person leading the song is responsible for determining which progression will be used for the song, it is important at a jam to pay attention to the choice of chord changes being used by the person leading the song, so that you don't find yourself using a different progression than that used by the leader. Melody Notice that while the G Major Scale consists of the 7 notes G, A, B, C, D, E, and F#, only five of these notes are used for the melody of Will The Circle Be Unbroken; these are the 1st, 2nd, 3rd, 5th, and 6th notes of the G Major Scale: G, A, B, D, and E. This 5-note subset of the G Major Scale forms what is called the G Major Pentatonic Scale. Knowing which 5 notes of the Major Scale form the Major Pentatonic Scale can be very useful when trying to find the melody of a song on an instrument, because there are many songs like Will The Circle Be Unbroken that have melodies that use only the notes of the Major Pentatonic scale, and even in songs that use more notes, the notes of the Major Pentatonic Scale tend to show up more frequently than the two Major Scale notes that are not included in the Major Pentatonic Scale. Some other songs that use only the notes of the Major Pentatonic Scale in their melodies are: All The Good Times Are Past And Gone Amazing Grace Auld Lang Syne Camptown Races Canaan's Land Come Back Darling The Crawdad Song Down The Road Foggy Mountain Top Handsome Molly Let Me Be Your Friend Light At The River Little Liza Jane Long Journey Home Mountain Dew My Home's Across The Blue Ridge Mountains Nine Pound Hammer Shortnin' Bread Swing Low, Sweet Chariot Tom Dooley Just like in Amazing Grace, Nine Pound Hammer, Foggy Mountain Top, Long Journey Home, Mountain Dew, and My Home's Across The Blue Ridge Mountains, the lowest and highest notes of the melody for Will The Circle Be Unbroken are the 5th note of the Major Scale, with the lower 5th and the higher 5th being an octave apart from each other. (D notes when in the key of G; E notes when in the key of A, etc.) Here is a comparison of the Major Scales and Major Pentatonic Scales for the 8 major keys we play in at the jam: 1 2 3 4 5 6 7 G Major G A B C D E F# G Major Pentatonic G A B D E A Major A B C# D E F# G# A Major Pentatonic A B C# E F# Bb Major Bb C D Eb F G A Bb Major Pentatonic Bb C D F G B Major B C# D# E F# G# A# B Major Pentatonic B C# D# F# G# C Major C D E F G A B C Major Pentatonic C D E G A D Major D E F# G A B C# D Major Pentatonic D E F# A B E Major E F# G# A B C# D# E Major Pentatonic E F# G# B C# F Major F G A Bb C D E F Major Pentatonic F G A C D Pickups For Will The Circle Be Unbroken, use the same set of pickups to lead into a break, especially an intro break, that you would use to start Nine Pound Hammer, Little Birdie, or She'll Be Coming Round The Mountain. Notice that the melody of Will The Circle has two pickup notes built into it. These are the same two pickup notes that are built into the melodies of Little Birdie and She'll Be Coming Round The Mountain, and they are also the same as the last two pickup notes that are built into the melody of Nine Pound Hammer. When a song has built-in pickups, it is usually best to include these in one's pickup phrase for leading into a break, rather than selecting pickup notes that don't imply the melody. A simple way to turn the pickup notes in the melodies of Little Birdie, She'll Be Coming Round The Mountain, and Will The Circle Be Unbroken into a pickup phrase that consists of three quarter notes (using three quarter notes rather than just two is usually a more effective way to start an intro break at a jam) is to double up on the first pickup note in the melody: 5 5 6 leading to 1 sol sol la do key of G: D D E G key of A: E E F# A key of Bb: F F G Bb key of B: F# F# G# B key of C: G G A C key of D: A A B D key of E; B B C# E key of F: C C D F On banjo, another effective way to start an intro break for Little Birdie, Nine Pound Hammer, She'll Be Coming Round The Mountain, and Will The Circle Be Unbroken is to play a half-note pinch (e.g., 5th and 1st strings played together simultaneously, lasting for half a measure before the next note is played) followed by the two quarter note pickup notes that the melody starts with. Lyrics At jams, it is common for the song to be sung with either 3 or 4 verses: 1. I Was standing by my window... 2. Lord I told that undertaker... (or Well I told that undertaker... or Undertaker, undertaker...) 3. Lord I followed close behind her... (or Well I followed close behind her...) (4. I went home Lord, my home was lonesome...) Song List 18 songs were played at last night's jam: 13 from the main list, 1 from the additional songs list, and 4 that are on neither list: Blue Ridge Cabin Home - A Boil The Cabbage Down - A Bury Me Beneath The Willow - G Cripple Creek - A Foggy Mountain Top - G Little Birdie - Bb Mama Don't Allow - A A Memory Of You - Bb My Home's Across The Blue Ridge Mountains - G Nine Pound Hammer - B Shortnin' Bread - G Soldier's Joy - D Will The Circle Be Unbroken - G Lonesome Road Blues - G Christmas Time's A Coming - A Good King Wenceslas - G Joyeux Noel - A Silent Night - C Happy Pickin' Jason Will The Circle Be Unbroken - banjo tab Download File Will The Circle Be Unbroken - guitar tab Download File Will The Circle Be Unbroken - mandolin tab Download File Will The Circle Be Unbroken - melody in G Download File Hi everyone,
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. Recordings Luke Lenhart Family and Friends - key of G. http://www.youtube.com/watch?v=p7oUEpZHcaQ Reno & Smiley - key of Db (a half-step higher than C) - song starts at 5:13 https://www.youtube.com/watch?v=ML4vFbTMPoo Jason Homey & The Snake River Boys - key of C - starts at 11:25 Jason Homey and the Snake River Boys, IBA Open Mic, 12_16_19 - YouTube Jam Video Here is a youtube jam video that I have made for Silent Night. Jason’s YouTube Links – Alphabetical Listing – Parisology (cyberplasm.com) Progression The chord progression I use for Silent Night is: 1111 5511 4411 4411 5511 1511 In the key of C: 1=C 4=F 5=G Melody From lowest to highest, the notes that make up the melody of Silent Night are: 1 2 3 4 5 6 7 8 9 10 11 key of C C D E F G A B C D E F key of D D E F# G A B C# D E F# G key of E E F# G# A B C# D# E F# G# A key of F F G A Bb C D Eb F G A Bb key of G G A B C D E F# G A B C key of A A B C# D E F# G# A B C# D key of Bb Bb C D Eb F G A Bb C D Eb key of B B C# D# E F# G# A# B C# D# E but, it is only in the 5th line of the song that the melody goes up to its two highest notes, and it is only at the end of the 6th (last) line of the song that the melody goes down to its two lowest notes. 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 in the files at the bottom of this write-up.) Guitar: to capo or not to capo 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 files, I have included two guitar tabs of the melody, one in C and one in G. Mandolin In the mandolin tab of the melody in the files here, the three lines written above certain (longer) melody notes indicate where one may wish to use tremolo as a way to embellish the melody. Happy Pickin', Jason Song List 18 songs were played at last night's jam: 11 from the main list, 1 from the additional songs list, and 6 that are on neither list: All The Good Times Are Past And Gone - C Beautiful Brown Eyes - G Blue Ridge Cabin Home - A Boil The Cabbage Down - A Buffalo Gals - A Foggy Mountain Top - G I'll Fly Away - A A Memory Of You - A Nine Pound Hammer - B Soldier's Joy - D Will The Circle Be Unbroken - G Angeline The Baker - D I Saw The Light - A I'm Waiting To Hear You Call Me Darling - D Away In A Manger - A Joy To The World - D Little Elf Joe - A Silent Night - C Silent Night - melody in C Download File Silent Night - banjo tab Download File Silent Night - mandolin tab Download File Silent Night - guitar tab 1 Download File Silent Night - guitar tab 2 Download File Hi everyone,
Just a quick reminder that for the whole month of December, the beginner jam has been moved to the Ironwood Bar & Grill, and is being held on Thursdays rather than Tuesdays. Bluegrass Christmas At the beginner jams held for the remainder of December, you are welcome to call Christmas/seasonal songs at the jam that you would like to play that you believe would be a good 'fit' for the beginner jam group. And you need not wait until the second half of the evening to call these. Of the many Christmas/seasonal songs that have been played in past years at the December through early January beginner jams, the ones that I think have worked the best in the context of the beginner jam are: Auld Lang Syne Away In A Manger Good King Wenceslas Jingle Bells Shepherds In The Field Silent Night Go Tell It On The Mountain Joy To The World Silver Bells In a file at the bottom of this write-up, I have included the chord progressions I usually use for each of these 9 songs. Song of the week write-ups, complete with recordings and melody sheets, for Auld Lang Syne, Away In A Manger, Good King Wenceslas, and Silent Night can be found here: All of Jason's Songs - Idaho Bluegrass Association In addition to the jam videos available here Jason’s YouTube Links – Alphabetical Listing – Parisology (cyberplasm.com) for Away In A Manger, Good King Wenceslas, and Silent Night, I have also made a jam video that includes Jingle Bells, Shepherds In The Field, and Auld Lang Syne (Beginner Bluegrass Jam 12/12/2020 | Jam Along | Idaho Bluegrass Association | Jason Homey - YouTube), and a jam video that starts with Joy To The World Intermediate Bluegrass Jam 12/12/2020 | Jam Along | Idaho Bluegrass Association | Jason Homey - YouTube Finally, here is a live performance from the December 2019 IBA open mic of 6 Christmas/Seasonal songs (O Little Town Of Bethlehem, Away In A Manger, Good King Wenceslas, Silent Night, Shepherds In The Field, and Auld Lang Syne) Jason Homey and the Snake River Boys, IBA Open Mic, 12_16_19 - YouTube Happy Pickin', Jason Christmas Seasonal Songs.pdf Download File Hi everyone, Song of the Week The song of the week is 'Nine Pound Hammer' in the key of B. Recordings Lonesome River Band - key of B https://www.youtube.com/watch?v=8tNA13W2cds Tony Rice - key of A https://www.youtube.com/watch?v=_u964a0f38s Jason Homey & The Snake River Boys - key of B. (The song starts at the 8:27 mark in the video): Jason Homey and the Snake River Boys, IBA Open Mic, 2/26/19 - YouTube Jam Videos Here are four youtube jam videos I have made for Nine Pound Hammer. In the one listed second, I am on guitar in the key of B. Jason’s YouTube Links – Alphabetical Listing – Parisology (cyberplasm.com) Progression The chord progression for Nine Pound Hammer is: 1144 1511 In the key of B: 1=B; 4=E; 5=F#. The B chord consists of: BD#F#; the E chord: EG#B; the F# chord: F#A#C# Banjo, Guitar, & Dobro: Practicing with a Capo For guitar, dobro, and especially banjo players who have much less experience playing in B than in G and A: I suggest making it a point to spend some practice time playing with the capo on the 4th fret (with the 5th string, on banjo, spiked/capoed at the 9th fret), for although the fingerings for playing in B will be the same as those for playing in G, the instrument will feel different to play: the frets will be closer together, and the strings will feel a bit tighter; and on banjo, it can get a bit confusing to see the 5th (short) string being located directly above one's left hand when one is playing in first position if one is not used to this. Melody In order from lowest to highest, the notes that make up the melody of Nine Pound Hammer are: 5 6 1 2 3 5 sol la do re mi sol key of G: D E G A B D key of A: E F# A B C# E key of Bb: F G Bb C D F key of B: F# G# B C# D# F# key of C: G A C D E G key of D: A B D E F# A key of E; B C# E F# G# B key of F: C D F G A C These are the same notes used to play the melodies for 'Foggy Mountain Top', 'My Home's Across The Blue Ridge Mountains', 'Will The Circle Be Unbroken', 'Amazing Grace', 'Long Journey Home', and 'Mountain Dew'. Pickup Notes In the melody sheets in the attachments to this write-up, notice that the first three notes of the melody of 'Nine Pound Hammer' are quarter notes, and that they occur before the first complete measure of the tune. (In cut common time, i.e., 2/2 time, as well as in common time, i.e., 4/4 time, 3 quarter notes make up only three-quarters of a complete measure.) Make it a point to remember these notes, because they will be useful for starting your intro breaks for many other songs that, like 'Nine Pound Hammer', also have as their first melody note in their first complete measure the note that has the same name as both the key that the song is being played in, and the first chord played in the song. (E.g., 'Little Birdie', 'Will The Circle Be Unbroken', 'She'll Be Coming Round The Mountain'.) These notes are: 5 5 6 leading to 1 sol sol la do key of G: D D E G key of A: E E F# A key of Bb: F F G Bb key of B: F# F# G# B key of C: G G A C key of D: A A B D key of E; B B C# E key of F: C C D F Breaks, Improvisation, and Scales While the intro break for the song should follow the melody closely enough to make it clear what song is being played before the first verse is sung, Nine Pound Hammer lends itself quite well to lick-oriented improvised breaks that may deviate considerably from the melody. This is a good song to use as a means for practicing any licks that you may have in your repertoire that fit over a line of 1144 or a line of 1511 for the key that you are playing the song in. On mandolin and fiddle, a good place to get started with finding suitable notes on your instrument to make use of in licks for improvising over Nine Pound Hammer in the key of B is to run through the B Major, B Major Pentatonic, and B Dorian Scales: B Major Scale = B, C#, D#, E, F#, G#, A#, B B Major Pentatonic Scale = B, C#, D#, F#, G#, B B Dorian Scale = B, C#, D, E, F#, G#, A, B On guitar, banjo, and dobro, run through the equivalent G Scales with the capo on the 4th fret to raise your key of G playing up to the key of B: G Major Scale = G, A, B, C, D, E. F#, G G Major Pentatonic Scale = G, A, B, D, E G Dorian Scale = G, A, Bb, C, D, E, F, G Fiddle & Mandolin: Double Stops For fiddlers and mandolin players who do not have much experience playing in B, I have included as an attachment to this write-up a chart of double stops that will work well in breaks for many songs in the key of B. For best results when using these in a melody-based break, be sure that the melody note is the lower, not the higher, of the two notes in the double stop, and if lingering on a particular double stop, instead of using it merely in passing, be sure that it matches the chord that is being played at the time in the song. For this reason, I have written chord names above each double stop. Blue Notes When playing without a capo in keys that have a lot of sharps in their key signature, I tend to try to find more spots than usual in my breaks for where I can make good use of 'blue notes': flatted 3rds and flatted 7ths (observe that these are the two notes in the dorian scale that differ from the notes in the major scale) but only to the extent these suit the song. The reason for this is that in these keys, flatted 3rds and flatted 7ths end up being notes that frequently occur in the more 'user-friendly' keys of C, G, D, and A. In the key of B, the flatted 3rd is a D note, and the flatted 7th is an A note. Unlike the 3rd and 7th scale degrees of the B major scale (i.e., D# and A#), both of these 'blue notes' (D and A when in the key of B) are part of the major scale for all the keys that I feel most comfortable playing in without a capo. Nine Pound Hammer lends itself especially well to the use of blue notes in breaks, so even when playing it in keys that don't have a lot of sharps, I still tend to use about just as many blue notes in improvised breaks for the song. In the key of G, the flatted 3rd and flatted 7th notes are Bb and F respectively. 7th Chords Closely related to the use of blue notes is the use of 7th chords. One can make good use of 7th chords in improvised breaks during a measure of the 1 chord that is followed by the 4 chord, and also during a measure of the 4 chord that is followed by the 1 chord. 7th chords are created by flatting the 7th major scale degree of the chord being played and adding that note to the chord. E.g., the 7th scale degree of the B major scale is an A# note. Flatting this note (i.e., lowering it by a half step) gives the A note. Adding the A note to a B chord results in an B7 chord. The 7th scale degree of the E major scale is a D# note. Lower this note by a half step and you have a D note. Add the D note to an E chord and this creates an E7 chord. Adding an F note to a G chord makes it a G7, adding a Bb note to a C chord makes it a C7, etc. Song List 21 songs were played at last night's jam: 15 from the main list, 3 from the additional songs list, and 3 that are on neither list: All The Good Times Are Past And Gone - A Beautiful Brown Eyes - G Blue Ridge Cabin Home - A Boil The Cabbage Down - A Buffalo Gals - A Cripple Creek - A Foggy Mountain Top - G Gathering Flowers From The Hillside - G I'll Fly Away - A Mama Don't Allow - A A Memory Of You - A My Home's Across The Blue Ridge Mountains - Bb Nine Pound Hammer - B Soldier's Joy - D Will The Circle Be Unbroken - G Down The Road - G In The Pines - E Liberty - D Are You Missing Me - G I Can't Feel At Home In This World Anymore - G Wildwood Flower - G Happy Pickin', Jason Sheet Music: Nine Pound Hammer - banjo tab in B Download File Nine Pound Hammer - guitar tab in B Download File Nine Pound Hammer - mandolin tab in B Download File Nine Pound Hammer - melody in B Download File A Chord Fill-in Licks Download File B Chord Fill-in Licks Download File 
Hi everyone, There will be no jam at the Powderhaus this coming Tuesday (Nov. 29th). For the next 5 weeks, the beginner bluegrass jams will be held at the Ironwood Bar & Grill (5467 N Glenwood St.) on Thursday evenings. (Dec. 1, 8, 15, 22, and 29: same start and end time as usual: 6:30 - 9). At the beginning of January, we should be able to resume holding the jams on Tuesday evenings at the Powderhaus. 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 - key of A Buffalo Gals - YouTube Eric Weissberg - key of B https://www.youtube.com/watch?v=1Itq8p6lRTg Jason Homey & The Snake River Boys - key of A Jason Homey and the Snake River Boys, IBA Open Mic, 4/23/19 - YouTube Jam Videos Here are four youtube jam videos I have made for Buffalo Gals. I recommend starting with the one listed first. In that one, I am on guitar, and am playing the tune in the key of A. Jason’s YouTube Links – Alphabetical Listing – Parisology (cyberplasm.com) 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', and 'Old Joe Clark'.) This is twice the length of a single AABB form break for 'Cripple Creek', 'Shortnin' Bread', and 'Cluck Old Hen'. 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, or 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 opening 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 , 'Mama Don't Allow', 'Amazing Grace', 'Down The Road', and 'Light At The River'. 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, A, and D for fiddle, mandolin, banjo, and guitar, refer back to the files included in the song of the week write-up for Boil The Cabbage Down. Beginner Bluegrass Jam Songs - Idaho Bluegrass Association 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. In addition to the melody sheets, I have included in the files at the end of this write-up 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 file at the bottom of this write-up 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 (check out the first and especially the third of the Buffalo Gals jam videos Jason’s YouTube Links – Alphabetical Listing – Parisology (cyberplasm.com ), 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 in the file . 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' file, 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, Eric Weissberg, and Snake River Boys 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. In the attachments, I have included examples of double-endings for fiddle, mandolin, guitar, and banjo suitable for most key of A, G, and D fiddle tunes. Song List 21 songs were played at last night's jam: 14 from the main list, 4 from the additional songs list, and 3 that are on neither list: Beautiful Brown Eyes - G Blue Ridge Cabin Home - A Buffalo Gals - A Bury Me Beneath The Willow - G Cripple Creek - A Foggy Mountain Top - G Gathering Flowers From The Hillside - G I'll Fly Away - G Little Birdie - Bb Mama Don't Allow - A A Memory Of You - A Nine Pound Hammer - D Soldier's Joy - D Will The Circle Be Unbroken - G Amazing Grace - G Before I Met You - C Leaning On The Everlasting Arms - A Wreck Of The Old '97 - D Dead Skunk In The Middle Of The Road - G Don't This Road Look Rough And Rocky - G Wildwood Flower - G Have a happy Thanksgiving! Jason
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