So...

[GCA]

...what kinds of things have people been working on lately? I've been
corresponding with several folks on different early banjo odds and
ends, enjoying the process of gaining greater insight into the playing
technique, trying to work up more pieces for performing, and looking
for more opportunities to collaborate with other musicians.

I've been dabbling with several versions of Pea Patch Jig based on the
version found on page 71 of Buckley's 1860 Tutor and Japanese Tommy's
Reel on page 76 of the same book. I'm feeling particularly challenged
by the octave leaps in certain tunes, like the opening in the A part
of Butcher's Jig on page 69.

I've also been working to be a lot more conscious of the "walking
pulse" in a lot of the syncopated tunes as well--allowing my feet to
do the walking so that I have something to play off of besides the
metronome. I'm finding it's helping me to reinforce and internalize a
lot more of the challenging rhythms as well as when I spend time with
other musicians who are not used to playing this stuff.

Hope all is well.

Greg
P.S., I recently got my copy of Dan and Ed's new book. I'll look
forward to going through that one day soon.

[Colporteur]

Last year I put a big emphasis on learning to sing some of the classic
songs, learning lyrics, etc. This year I've put a much larger
emphasis on playing cleanly. I've spent a lot of time in Rice
(Japanese Grand March, Where's dat N-?, One string Waltz, Excelsior
Jig, Johnny Diamond Walk Around). and am looking at the beginning
pieces in Converse (up to the guitar style exercises). I also decided
to get comfortable with the upper part of the neck. I'm much more
comfortable sight reading in A/E rather than just G/D. Elaine has
really come along on penny whistle, we are playing a number of tunes
together.

Regards,

John

[Carl Anderton]

Good to hear from you, John. These current working lists of ours will
be a big help as we approach the "Harmonic Convergance" near
Sharpsburg in Sept. Let us know what Elaine is playing on the penny
whistle. Is she working out of the Buckley?

I'm always keeping the syncopated stuff on a front-burner. I try and
sight read the tunes for myself but frequently can't. I play along
with Tim in the Clubhouse until I can pedal the tune by myself.
That's the only way I could ever have learned The Pea Patch Jig.

I've been messing around with The Jeffries Jig some lately-it's only
mildly syncopated, but has a tasty melody.

Also, I'm Off For Brighton (from both Buckley and Converse). Clarke
Buehling recommended that one to me. I wasn't super-turned on by the
melody at first but it grows on you and Clarke says it's an important
one. I like the Buckley version better for some reason.

I wonder if Bob Carlin plays the syncopated stuff we've been studying?

[Dave]

I've been working on song arrangements, in particular trying to work
out a Dan Emmett walk-around. Starting from the piano arrangement
available online and then trying to arrange it for banjo. I ended up
trying a couple of different keys but in the end the range of the
melody pretty much forced me to use a low bass tuning. I don't sight
read well so tab'ing is part of the process. Once I have a key &
tuning that accomodates the melody I start trying to learn to play it
stroke style. That's not working out real well so I'm considering a
guitar style arrangement. Whether this will ever make it to a Camptown
Shakers set list remains to be determined.

Dave Culgan

[Colporteur]

Dave,

As a piano player turned banjo player I have looked at this issue.
I've compared the piano scores of the period with the banjo scores.
(You can also compare the arrangements in Howe's and Ryan's with those
in the instructors) The range issue is tricky. I tried converting
Chopin's Minute Waltz to banjo. It can be done (after transposing
from Db to D), but it is not really a good banjo piece.

One of the tricks of the early arrangers was to raise or lower
portions of the music an octave (look at Yankee Doodle in Briggs).
George did this with his rendition of Machine Poetry last year, but my
guess is that this was more for his voice than for his playing (you
nearly have to be a castrato to sing that thing as written).

Another trick was to just work out an accompaniment for parts of the
music based on the chord structure of the music (Buckley - Dixie). If
you are not singing this can be pretty dull.

The third alternative is to work out a counter melody of sorts that is
still representative of the original tune. This takes some creative
work, but can be done. Doing this really comes down to whether you
are playing in a ensemble, or playing solo. If you are playing in an
ensemble you can take more liberties. Don't foget that Dan Emmett was
a fiddler first.

I'm looking forward to hearing how you solve this.

[Tim Twiss]

On Apr 27, 11:30 pm, GCA <gregcad...@gmail.com> wrote:
> ...what kinds of things have people been working on lately?

I have been spending a lot of time in the Converse Analytical (in an
attempt to correct some awful right hand habits I have) doing the
Combination Exercises as well as the Hammer and Banjo Exercises. Great
treasure.

Also looking at source material for some of the lesser known "vocal"
songs in Briggs'. (Alabama Joe, Get Up In De Morning, Old Joe, etc.)

Of course, just trying to keep up a repertoire of old material ready
to go.


TT

[brian wagoner]

Yankee Doodle and variations. All those triplet figures are fine at a slower tempo. Making them smooth at tempo is really tricky. Given the lower string tension and gut strings, some figures are hard as heck to pull off! (Pun intended!) I have a recording of Tony Trischka playing this and he does a phenomenal job and the bones player ain't shabby a'tall. neither!......Brian in NC

[baden owl]

Hi, Carl (and everyone else)
Thanks for asking!

I've been working on "standard" popular music - Keemo Kimo, Jim Along
Josie, Lucy Long, Oh Lemuel, Nelly Bly, If You Only Got a Mustache,
Angelina Baker etc. For pathos All Quiet Along the Potomac Tonight,
Minstrel Boy

John recently scored out 22nd of Februrary which isn't hard but sounds
great on whistle. We've been working on an Irish medley = Irish
Washerwoman, Bully for You, St Patrick's Day in the Morning. We're
working on assembling some hymns: Simple Gifts, On Jordan's Stormy
Banks, Nothing but the blood

I'm having the opposite challenge - trying to take banjo scoring and
come up with a melody that sounds good on the whistle. Bully for You
is a good example - John's banjo scoring from Converse wasn't sounding
right - until I found it in Ryan's. Combined they sound good.

Finger dexterity is the issue for me as well - even though I played
flute, whistle is a different thing. Soldier's Joy, Whiskey Before
Breakfast, Rickett's Hornpipe, Speed the Plow

Elaine