I just watched a CSPAN3 program that I previously DVRed about photos of the Antietam Battlefield by Stephen Recker. He spent quite a bit of time explaining this photo of the Pry House. I snapped a photo from the TV screen.
"Don't know if it's my computer or something wrong with this site but I click "Like" and it doesn't register. I see that the last two postings that Brice Alms has made has no "Like"s, so I suspect that perhaps there…"
"I'm talking about "limited singing range". Two frets MIGHT help. Not sure I'd want to crank up the fifth string that much, though. I have a Vega long neck which would be perfect but my interest is antebellum…"
"Hi Al. Van you elaborate on what you mean by "your limited range"? What tuning or range are you trying to achieve in this instance?I ask this because I believe the majority of (fretted) banjo players I know tend to put a capo…"
Due to my limited range, I was starting to think of ways to accommodate it with the use of a capo, etc. I would try to find use an old-style capo but what do I do with the 5th string?Anyone have experience with this? On my Sweeney model, the neck…
Al, That's the kind of thing you can either add as a link in a thread (there's a way to upload files to a given thread, click on the paperclip icon), or something as generally useful as that we can put under resources. Elaine has been going through period songsters and has a list of over 1800 songs at this point from the time period. The list is growing. I would put your spreadsheet under documetation.
I find that the most useful thing about the Weidlich book is his index of Minstrel Songs and which instructor they are in. It would be great to have some resources like that here on the site.
I'm not a re-enactor (though I do have a suit of funny clothes in the closet) so I usually don't always have to limit myself to completely period-appropriate performances. When I am doing a historic perfromance I use the "period" instruments that I happen to play — wooden flute, Scottish smallpipes, fiddle and sing unaccompanied. I've never earned the trick of self-accompaniment with fiddle. It's all I can do to play in tune when I'm not singing.
I mostly do 1812 songs from the Canadian point of view. My repertoire comes from old manuscripts and early published sources and also includes songs of the time that survived to be collected as part of the folk tradition in Ontario. I've been accumulating this stuff since the early 80s. Canada was much less urban than the eastern US at that time so there weren't nearly as many printed broadsides produced up here. Your Library of Congress website has lots of American 1812 songs online. (I'm envious)
In a concert setting, I'll usually perform this stuff in a more "folksingerly" context, as music from the past that has survived into the present. I use non-period instruments like steel-string guitar, mandolin and concertina and arrange songs to suit my own tastes — which to most people's ears are probably pretty arcane.