Auld Lang Syne ---Transcribed

Here's a tune that's been around the block as far as banjo arrangements go. Bill Keith showed us how to play it with the tuners and many others have developed variations on this model.

My arrangement here does not use the tuners but goes through a number of techniques including chord melody, single string, harmonization of the melody in 3rds and use of muted notes (the 'X's in the tablature).

I did this arrangement a while back but thought now would be an appropriate time to post the tablature.

Firstly here is what it sounds like....



And here is the tab (click to enlarge or go to my tablature archive for the tabledit file)...

Kokomo (solo banjo)

Kokomo is not everyone's favourite Beach Boys song. It has quite a few strikes against it; it was created post-Brian Wilson, it was featured in a Tom Cruise movie and I believe John Stamos was featured in the music video. Despite all this I love the song. I love it for its beautiful melody, its haunting yet soothing chord progression and, yes, even for the lyrics.

For the arrangement I plced it in the key of C and tried to go for a relaxed, draggy feel. Mostly I kept to the melody as it is so strong to begin with. The chorus gets a little Earl flavour to it.

Here it is...

The Little Drummer Boy (video)

Recorded a video for the arrangement I tabbed out last post. Was pressed for time and ended up having my son make a surprise appearance towards the end of the song. He gave me a round of applause at the end so I forgive him...

The Little Drummer Boy (written arrangement)

Doing a little holiday banjo arranging and came up with this for 'The Little Drummer Boy.

It begins in the key of G with the low D string as a drone then modulates to D keeping the same drone and the goes back to G and ends.

I will put up a video as soon as my camera's battery charges and I have the time but for now here is the written arrangement. If you want to view it in tabledit form (clearer and with MIDI so you can listen to it but requires a tabledit browser) go HERE.

Here it is in picture form (click to enlarge)...

Feathers and Tape (original tune)

This is a new original banjo tune of mine called 'Feathers and Tape'. You can listen to the mp3 HERE.

Banjo Nirvana

Was watching the old Niravana Unplugged DVD the other night and thought 'Something in the Way' might sound nice on the banjo. It is sort of an atypical tune for the 5 string; slow, sad, and in the key of F# minor (original key is F minor).

Here it is...



And here is the tab...

New Years Banjo Tale

There are a million banjo jokes out there but the first time I heard this one, told to me by the excellent guitarist Craig McGreggor, it really cracked me up. I've heard it since then told with different variations but I will retell the version I first heard as close as I can:

It is almost New Years Eve and Lextar Tech, a company dealing in the development and sale of electrical fan motors, is all set to put on another legendary bash. Lexar has developed a reputation for it's phenomenal New Years Parties, in fact these parties are the only reason some people work there. Everyone has been buzzing about the band they are bringing in; a supergroup featuring the singing of Don Henley, Stevie Wonder on keys, Eddie Van Halen on guitar, Phil Collins on drums and Flea from the Red Hot Chilli Peppers on bass. It is set to go down as the most outrageous New Years party in the history of outrageous New Years parties.

The trouble arises the morning of. Kendall Bullworth, who is organizing the event and feeling pretty darn good about things, recieves a call from Don Henley himself.

"Kenny!", he says in a raspy, strained whimper, "Bad news; had a rehearsal with the band last night. Little Stevie Wonder and that nut Van Halen got in a fight. Flea jumped in and then Phil Collins...it was terrible. Phil ended up leaving in an ambulance, Eddie lost part of a finger, Flea decided he doesn't want to play music anymore and Stevie claims the whole thing killed his karma and he can't perform again for another 8 years!"

At this point organizer Kendall is sweating profusely; "Are...Are you telling me the band can't play tonight?!"

"Play tonight?", croaked Collins, "We'll be lucky to play again PERIOD!"

"Well, how about you Phil? Why don't you do it on your own?"

"No can do. I went out to drown my sorrows at the local Go Go bar after the brough haha and ended up contracting mono from one of the dancers. Doc says I won't be singing for a month!"

Organizer Kendall doesn't know what to do. He tells his wife of his troubles and she has a suggestion. She says that a month ago at her friends housewarming party they had a local band that blew everyone away. The band did not have a name but was made up of a very odd combination of instruments: banjo, accorion and bagpipes.

"Banjo, accordion and bagpipes?!" Kendall groans.

"I swear they were AMAZING" she assures him.

Kendall tries every other group in his Rolodex but noone is free. He has no choice but to call these oddballs his wife has recommended. They are available.

Kendall is sweating bullets as the party begins and eager guests buzz about the supergroup they believe is about to perform.

Kendall takes the stage; "Greetings and Happy New Year everyone. I know alot of you are excited to see Don Henley and Stevie Wonder and Eddie Van Halen and Phil Collins and Flea from the Red Hot Chilli Peppers..." (The audience roars with applause) "Unfortunately...um...they couldn't make it" (silence) "So...errrr...here is the band we got..."

Kendall beats a hasty retreat and the banjo, accordion, bagpipe trio take the stage.

People are livid at first but midway through the opening number they are captivated. By the third song the audience is in the palm of their hand. When they finally exit the stage after 5 hours of playing a 7 encores everyone in the building is convinced this is the best Lextar New Years party in the history of Lextar New Years parties.

Backstage Kendall approaches the band. "That was PHENOMENAL!!", he shouts, "Words fail me. I...I know this is kind of rediculous to be asking already but...could I book you guys right now for next years New Years party?"

The band are ecstatic. "Absolutely", they chime in unison, "Should we leave our gear?"

Gigue from Partita #3 (J. S. Bach)

Here is a little classical banjo for ya. I arranged this from the original violin part but transposed to G.

Here it is...



And here is the tablature (click to enlarge or download the tabledit file HERE.

'Get the Horns' - New Banjo Tune

Thought I'd do a short post to share a new tune. This one is sort of slow and gritty and it's called 'Get the Horns'.

You can listen to it here...

And here's the tab (click to enlarge)...

I'll try and post a video for it in the next little while if I can find my pesky camera.

Chromatic Exercises Part 3

This exercise is simply a varition of the exercise in 'Part 1'.

Instead of moving through the left hand fingers in a 1, 2, 3, 4 order it moves through them in a 1, 4, 2, 3, order (index, pinky, middle, ring).

When it shifts to descend the order changes to 4, 1, 3, 2.

Here is the tablature representation (click on tablature to enlarge)...

Like the title says; pretty wacky. A bit of a finger-buster to boot. Gets your hand moving in ways it is not used to though and may inspire some alternative sonic reasoning.

Chromatic Exercises Part 2

Where the first chromatic exercise we covered was all single string style this one is a mix of single string and melodic.

I tried to keep it melodic where possible and single string when necessary.


The scale here simply moves chromatically from the lowest note on the 'jo (low D) to the highest (high C).

Here it is in all its glory (click on tablature to enlarge)...

You can also move back down by reversing the order of notes.

Chromatic Exercises Part 1

Thought I would share a few warm up exercises I have found helpful. The ones covered in ths series of posts all fall under the 'chromatic' umbrella. The term chromatic refers to a tonality in which all of the 12 tones (every single note) is included.

The first exercise is simple to memorize and uses all four left hand fingers equally.

All you do is begin on the 2nd fret of the 4th string and progress through your 4 fingers fret by fret (2nd fret, 3rd fret, 4th fret, 5th fret).

Then do the same thing on the 3rd string only beginning on the 1st fret (1st fret, 2nd fret, 3rd fret, 4th fret).

Then move to the 2nd string and play the same pattern as on the 3rd string and finally play the patten on the 1st string beginning on the 2nd fret.

After that I shift position up one fret and descend. Once descended I shift up another fret and ascend and then descend and keep the pattern going.

Here is the exercise in tablature form (click on tablature to enlarge)...

You can continue all the way up the neck shifting everytime you finish an ascending or descending pattern.

I have a few other chromatic exercises so stay tuned...

Exploring Cherokee Shuffle - Part I : Straight Ahead Break

It was suggested by Joe Downes on a Banjohangout.org forum that we explore Cherokee Shuffle next so here it is...

If you follow this blog and it seems a little familliar that's because I posted a recording of it played on a little Goldtone mini banjo a few months back.

The arrangement is fairly right hand heavy, down the neck, with the left hand providing some strong pulls. The B section uses a wole lot of backward roll. If the backward roll has been giving you grief playing this arrangement may be just the thing.

I'll try and post another arrangement or two for this one in the next little while.

If you've got a version you want to share feel free to plug it in the comments section.

NEXT: Exploring Cherokee Shuffle Part II: The Uncapoed Key of A Break

Exploring The Gold Rush - PartIII: Up the Neck Break

At long last here is a new up the neck break for Gold Rush. No video for this one yet but will try and cook something up in the next couple days.

Here's what it looks like...

Not too many completely out of left field surprises although the bend release from the 19th fret may take some work. Basically the note is bent a whole step (2 frets) before it is plucked and then the bend is quickly released. Also known as ghost bends these come in handy here and there and may bring to mind the sounds of pedal steel guitar.

As always write me if anything isn't totally clear.

Photo and Video from Friday's Concert

Played a shindig this Friday and Matthew Grapengieser happened to take some video and some great photos. Thank you Matt!

Here is one of the photos (that's my banjo and Jacob Russell's head in the background)...

There are 17 photos from the night posted on Matt's Flickr page at http://www.flickr.com/photos/33237881@N08/sets/72157626823034708/

Here is a video of Crowchild Ramble played by The Tishomingo String Band...



And here is Fantini, Wood & Wells with 'Yellow Moon'...



Will post the next 'Golrush' installment soon...

Exploring The Gold Rush - Part II: Single String Break

Here's a little single string arrangement to shed light on another way of approaching this chestnut.

Only the A section is truly single string, the B section takes a more melodic/ Keith style approach with a bit of bluesy tonality.

If you're interested in injecting some blues flavour into your playing try messing around with this down the neck G blues scale (starting on D)...




On to the arrangement; here's the video...



And here is tablature for the arrangement...



As usual let me know if you have any questions, suggestions or ideas (or if you have your own banjo creations you want to plug).

NEXT: Exploring Gold Rush Part III: Up the Neck

Exploring 'The Gold Rush' - Part 1: Straight Ahead Bluegrass Break

Last month I wrote a series of posts on Blackberry Blossom, one of my favourite fiddle tunes and a solid vehicle for exploring new vistas in banjo arranging. It was suggested on the Banjohangout.org site that further entries in the exploring series covering other songs might be fun so here we are with the second song in the exploring series: Gold Rush.

If you are not familiar with Gold Rush see if you can find a version or two played on fiddle (just pop gold rush fiddle into a search engine or check out Bill Monroe's version with Robert Bowline on fiddle at http://youtu.be/WxG11BmCsVk)

It is a powerhouse of a fiddle tune. Generally it is played in the key of A and for this first arrangement I've kept things simple capoing to the second fret and playing as though we were in comfortable old open G. The style for this arrangement is 80% straightforward Scruggs. The bits that stand out are the hammered triplets. I love these and you can throw them into a ton of playing situations. They may be difficult to play clearly at first so try running through them alone a little bit (preferably with a metronome) before diving headlong into the tune.

Here are the triplets...



Ok, feel comfortable with the triplets? Let's dive in ...



(click to enlarge)


As usual let me know if there are any things giving you grief or that you might like to have clarrified.

NEXT: Gold Rush: Part II - Single String Break

New Songs from Fantini, Wood & Wells

Sorry I haven't posted in a while; was off visiting my inlaws in Toronto.

Anyway, I have some great news for all you fans of banjo, piano and voice combos; my new trio Fantini, Wood & Wells have just done some recording and I've posted a couple songs up you can listen to.

The first one is called 'Once, Twice'. It is slow and melancholy and quotes lyrics from 'The Sound of Music'.

The second song is Yellow Moon which is a little faster and features alot of piano/ banjo interplay.

You can find them here...

http://www.banjohangout.org/myhangout/music.asp?id=18454

Next: Exploring 'Gold Rush'

Tishomingo String Band, Sarah Wheeler and Fantini, Wood & Wells playing Vancouver BC on May 27th

Anyone whose going to be in the Vancouver area in a moth's time is invited to a concert featuring two groups I play with. Here is the poster...



Tishomingo String Band is high energy offbeat bluegrass, Fantini, Wood & Wells is somewhat of a classical/bluegrass hybrid and Sarah Wheeler is a fantastic singer/songwriter.

Not sure if I'll be joining Ms. Wheeler onstage on the 27th but have played with her in the past. This is a video clip from a Haiti Benefit a little over a year ago...



If you're going to be in town at that time be sure to mark it down in the old calander.

Mr. Mouth

This here is an instrumental I wrote that goes by the name of Mr. Mouth.

We play this one regularly with The Tishomingo String Band but I thought I would record a solo banjo version for those of you that are into that kind of thing.

Here it is...



If anyone is interested in the tab let me know and I'll put it up.

Exploring Blackberry Blossom - Part IV Abstract Break

So far in this micro series we've covered a simple backup arrangement, a low single string break and a high break. For this, the forth and final chapter, we'll look at what I'll be calling an abstract break.

Perhaps abstract is not the most correct term. Fantasia? Noodlefest? Whatever we call it what I am refering to is a break which is not tied down to the melody. It uses the melody in quite a few places and the melody remains the bedrock foundation on which it grows but from that place it sort of meanders into the twilight zone (not much, just a little).

Have a listen here and then I will explain a little.





The first part of the break picks descending chord inversions with a forward/revers roll. I pick a dead note (muted with the left hand) on the 'and' after the 2 beat. I like the sound of dead notes occasionally. Here are the pros and cons of dead notes as I see it:

Pros: Creates a nice contrast with the more common ringing notes and provides an interresting percussive effect

Cons: Can sound like you messed up while trying to fret a note

The next part begins ascending chord inversions with some chromatic sliding movement on the third string.

After that it returns, for the most part, to single string melody playing for the rest of the A section.

For the B section I begin with an Em arpeggio which ascends a fair ways up the neck. For the B chord I play B diminished tones. The second time it returns to the B chord I also use B diminished chord tones only this time in triplet form.

That's the general gist of it. Hope you enjoyed these posts on Blackberry Blossom. It was suggested on the Banjohangout forums by Grumpy7 that we do more of these 'Exploring' series with different standards so I am going to try to do that as well and as regular as possible.

Write a quick comment if you have a favourite standard you think might be good for the 'Exploring' thing.

Exploring Blackberry Blossom - Part III High Break

The last post in this series covered a low single string break for Blackberry Blossom. Once you've gone as low as you possibly can there's only one to go: up.

For the high Blackberry break we begin with some single string way up at the 17th fret of the first string. We stay on the first string for a while, shifting the index finger back whenever neccesary (to the 16th and then the 14th fret) and then use a bit of a melodic escape at the end of measure 2 to skip back to 7th position. The 2nd half of the A section (measures 5-8) is the same as the first only with a slightly different ending.

The B section veers away from the single string technique to a forward/ reverse roll barring at the 12th fret and adding and removing the 14th fret on the first string as neccesary.

Because I wanted to make this high break as high as humanly possible I put a jump up to the 22nd fret on the first string over the B chord.

The end of the B section returns to single string on the melody.

Here is the arrangement in tablature form (click for a larger image)



And here is what it sounds like.



Also, for anyone looking for backing tracks to play the break along with there are some in mp3 form here;

NEXT: Exploring Blackberry Blossom Part IV: Abstact Break

Exploring Blackberry Blossom Part II: Low Break

Last post we covered a simple backup arrangement for the Blackberry Blossom. In this post we will explore some single string picking with a sweet and low Blackberry break.

For those of you not familiar with single string playing it is a technique similar to scalewise guitar playing whereby a single string is often plucked several times in a row (in Scruggs and melodic styles the same string is rarely plucked twice in a row) traditionally alternating the thumb and index finger of the picking hand.

Some players prefer using the thumb and middle for singlestring playing and others favour a TITM pattern. I find the TITM pattern is best for generating speed but tend to use TITI for most everyday single string.

This arrangement brings the melody an octave lower than the standard Keith style arrangement. Because the banjo runs out of lower notes at the D I bring things up the octave when necesary.

The break stays somewhat true to the original melody in the A section and then steps a little more into its own in the B section. I really love playing on the low D string; something about the big wound string and how it just crackles and pops.

Here is the arrangement for you in tablature form (click on the image to make it larger).



Here is what it sounds like slow.



And here it is a little faster (threw in a couple alternate licks in this one)



As always let me know if you have any questions.

NEXT: Exploring Blackberry Blossom Part III: High Break

Exploring Blackberry Blossom Part I: Simple Backup

Blackberry Blossom is one of the most common and popular bluegrass instrumentals. It's melody posesses both an intangible 'prettiness' and an infectious cadence which set it apart from the hordes of similar tunes.

It was first popularized on the banjo by Bill Keith and was one of his very first melodic arrangements. It has since become a standard almost every bluegrass banjo player learns at some point in his education.

The purpose of the series of posts I am writing on Blackberry Blossom is not to teach the standard Keith derived banjo arrangement (I will cover it breifly for those not familliar with it) but to explore various possibilities for playing banjo on the song. Anyone reading this blog is welcomed and encouraged to try out the ideas and arrangements presented in these posts in any and all playing scenarios as well as to play around with the concepts and develop their own variations.

For this, the initial Blackberry post, we will look at a simple backup arrangement using a diatonically descending bass line. It is easy enough to play and I personally find descending basslines quite appealing. (This arrangement also works for the Greatful Dead's 'Friend of the Devil' with a few minor adjustments).

Here is the arrangement in tablature form (click on it to get the larger image)



And here is what it sounds like.



As always let me know if you have any questions.

Bonus: Here is a standard Keith Style version of the melody.





NEXT UP: Exploring Blackberry Blossom Part II : Low Single String Break

Tishomingo String Band --- Website is up!

The Tishomingo String Band (my band) have a new website up at www.tishomingostringband.com

You can hear Tishomingo songs there, read bios, and find out about new developments in Tishomingoland. Check it out...

Quote Me on That - Musical Quotes and How to Use Them

Looking for something interesting to throw in a break? Try a quote.

Throwing a short phrase from a recogizable melody can be alot of fun and can trigger a kind of instant nostalgia that only something dug up from our collective past can.

To inject a musical quote into your playing simply treat it as you would any other lick; find a space where it works harmonically and...voila!

The difficult part can be finding an appropriate melody; something that at least a few people in audience will grasp in a measure or four. I've picked a few examples that you are more than welcome to use.

The first one is from 'Dixie'. It is the first two measures of the song; "Oh I wish that I was in the land of cotton..." I think the Dukes used this for the General Lee's horn.


Here it is written in G and ready to be fit into any 2 measure section you please.





The second quote is from 'The Entrance of the Gladiators' which is commonly used in the circus and is associated with clowns. I actually throw this one in on 'Ground Speed' so feel free to check that out here http://banjohomeplace.blogspot.com/search/label/Ground%20Speed

Anyway, here's the quote





The last one I'll show here is the Turkish March. I love this melody and have heard fantastic arrangements of this on banjo; Jason Homey from the Clumsy Lovers occasionally plays it as a solo in concert. Here I have the first 4 measures transposed to G to be used as a surprise kickoff for a breakdown. The melody implies G minor but if you pop up to G major after the intro I find it to be an appealing shift.





Try those out and see how they fit. If you want more quote licks I have a few more up on my banjo lick site at www.banjolicks.blogspot.com

That's all for now, but as a famous Austrian once said "I'll be back."

Fun on the Mini-Banjo

I remember as a kid my cousins and brother and sister and I would get a huge kick out of riding my grandpa's minibike. It was just like a real motorcycle except about 1/3 scale and powered by a lawnmower engine.

I get somewhat the same thrill playing shrunk-in-the-wash style banjos. My mom bought a GoldTone Cripple Creek mini banjo for our son and needless to say I am the one getting the most use out of it. It is fairly midrange-y and has a nice little kick for a Danny Devito sized instrument.

Here's a quick clip of some Cherokee Shuffle on the little guy.



Here's the tab. If you want your full size in the same range as the mini you can capo up tho the 5th fet (C).

How to Arrange a Tune in Bluegrass Style--This Land is Your Land

I've seen alot of banjo students progress very well working with clearly defined arrangements only to hit a bit of a wall when it came time to arrange for themselves. The following is something I've used to break down my general banjo arranging formula for students. It uses Woody Gutherie's 'This Land is Your Land' as the example.

Step 1. Figure out the melody and the chord progression

You can do this a couple of ways. One way is to pick the melody out by ear from a recording, from another musician who knows the melody, or from memory. The other way is to find sheet music with the melody and chord progression notated.

Here is the straight melody for 'This Land is Your Land'.



And this is the chord progression.



Step 2. Begin to fill in the holes (spaces between melody notes)

You can fill the holes in any number of ways but chords tones (playing notes from the chords of the underlying chord progression)are a good first shot.

Filling in the holes with pinches (in this case plucking the outside strings with the thumb and middle finger) is perhaps the easiest way to start.

Here is 'This Land is Your Land' with melody and pinches.



Step 3. Experiment with rolls

Any tune can be arranged thousands of ways so which rolls you choose really is up to your judgement and taste. The forward roll (T,I,M) carries alot of power and lends itself to the kind of syncopation characteristic of Scruggs style. You generally don't want to overuse any one roll (in my opinion) but you can pick one roll to be the dominant, driving roll of the arrangement.

Here is 'This Land is Your Land' using forward roll and not much else.



Step 4. Final touches--Adding licks etc.

Once you are comfortable with the melody on the banjo and have experimented with filling the holes and using rolls you can begin adding the final touches. These may include:

1. Solidifying which rolls you are using and where---striving to find an appealing balance and breaking up any spots where one roll has overstayed its welcome.

2. Thinking of different places to play melody notes. Instead of playing a B note on the open 2nd string you could slide into it on the 4th fret of the 3rd string. Sliding and hammering into notes is an important part of the Scruggs style and can really make a tune come alive.

3. Adding licks where appropriate. As far as where and when to put licks that is again a judgement call but I would strongly advise keeping the melody as clear as possible.

Here is a Scruggs style arrangement of 'This Land is Your Land' using a few standard licks.



Hope that is useful to someone out there. Arranging is a personal and creative venture so any formula like the one I've outlined should be seen more as guide to help you along.

Freight Train

This is a simple arrangement in C tuning (drop low D string to C: gCGBD).

I mute the 4th and thirds stings to get a percussive bass and play it sowewhat close to the bridge with the fingerpicks on. For an exercise try playing the thumb alternating between the 4th and third stings on the 1 and 3 beats. In this style the back and forth action with the thumb on the low strings delivers a constant, propulsive bass rhythm. Th banjo doesn't have the lowest bass range but I still dig the sound of it.

As always write me if you have any questions.

Writing a 2nd Break---'Ground Speed'

When tackling a banjo tune you would like to add to your repertoire the first step is generally to learn the main banjo part from a trusted source (say a preferred recording or a solid written arrangement).

A second step might be to try something to make it your own. You could alter the original banjo part to your tastes and strengths (which is never a bad idea) and/or you could concoct an original second break.

The nice thing about an original second break is it allows you to build off a strong piece of music. Plus, you already know you like the first break so at least that part of the song will fly even if your original break crashes and burns.

For this example I came up with an original 2nd break for Scruggs' 'Ground Speed'.

The original melody is classic; a rip roaring descending pattern up the neck leading to the open strings and back again. Generally played at a good clip, though it also sounds good slow, this tune is freaking addictive.

For the A section of my break (in the video it begins when my left hand reaches around the 15Th fret) I decided to keep the melodic contour intact as much as possible just moving everything a little further up the neck. Then I threw in a long descending pull off lick as a way to get from up the neck to back down low. Does it work? You tell me, but that's what I did.

For the B section I keep close to the original save for the circus music quote. I find a more conservative B section balances the long chromatic-ish run at the end of the A section.

There are many approaches you can take to a 2nd break and I encourage everyone to try it out, have fun and come up with something different.

Here's Ground Speed(man do I look goofy when I play)...

Log Drivers Waltz

Hadn't put a new tune up in a while so here you go. The is the Log Drivers Waltz and from what I hear it pleases girls completely.

The song was written by Wade Hemsworth and I know it from the cartoon they used to play on CBC. Great cartoon.

It's a lively waltz. I like to play most of the melody with the thumb and try to make the melody sing out as much as possible.

without further adieu here's the video...


And here's the tab...

Concert Photos

Here are some photos from last months Tishomingo String Band/ Fantini Wood and Wells trio concert. They were shot by our good friend and fabulous pro photographer Angie Wojciechowska who has a photography site www.shotbyangie.com.

Tishomingo...


Maria Cristina Fantini...



Some more assorted pics...