For enthusiasts of early banjo
Tune of the Week Oct 28th
Say, let's jump into the Analytical for one of Converse's originals "The Modoc Reel". Hear the DNA of past Stroke pieces. I'll put up a few versions.
1. Just the plain TAB with no fingerings
2. and 3. TAB with some fingerings
4. TAB with ALL his fingerings
Views: 120
Replies to This Discussion
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Permalink Reply by Timothy Twiss on
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This is the complete version as written out by Frank Converse. Enjoy this as a simple tune....easily executed, or go deep into the mind of Frank Converse, as he codified almost to the point of a Classical technique, the style of Stroke Style Banjo. The result here looks like rocket science, but the result is an amazingly easy arrangement that flows like a beautifully choreographed dance.
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Permalink Reply by Chris Prieto on
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Nice! Thanks for posting these tabs Tim. I will get cracking now. Converse is a master of fretboard space and time.
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This will be great on many different levels. Don't be afraid anybody....it's easy to play
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It sounds familiar. It's also fun to try and use hammer stroke instead of my thumb which I've come to rely on quite a bit. What exactly are the u shapes (smiles not frowns) above notes?
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Pull offs
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Permalink Reply by Rob Mohr on
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This looks easier than it is. I keep wanting to use my thumb for that 3d string 2d fret pull off. And, that 3d string 1st fret always throws me...
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Haha sames I been playing first fret second string because I don't get how that would work as a pull off. I swear I've played something similar in the yellow book maybe. My real struggle is the grace notes.
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Look at "Boston Jig" in Buckley 1860.
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HUZZAH for the Modoc Reel. Hope it was cool for everyone. Nice work guys. That is a fair amount of work to do a tune from scratch and then record it within a week. But it sure ups your game, doesn't it?
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Permalink Reply by Tom Taggart on
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To my ear, this tune is very similar to the Boston Jig. Anyone else hear that?
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Yep! I was confused for a second but it seems one man's Boston jig is another man's Modoc reel
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