A lovely song from the 1820's as found in Elias Howe's Banjo Preceptor of 1848. My fingerings for this piece were taken from the beautiful playing of Joe Ayers
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I realize the music was around earlier. Any diatonic melody is "banjo music". In this way, almost all fiddle music is "banjo music". A good arrangement depends upon the skill of the arranger. This does not mean just adding notes, but rather finding the greater advantage of the instrument...indicating use of the thumb string, pulls, hammers, and slides. I have arranged several from this book, attempting to not stray too far from the original intent with craziness. I think many of them worked out well. If you wouldn't mind taking a peek, I'd appreciate your feedback. These are my takes on Gumbo Chaff material.
The photo "feature" does not show everything. I tried to list Philosee Charcoal, Gumbo Chaff, Long tail Blue, Coal Black Rose, Backside Albany, Jump Jim Ctow. Just searh in the top right corner and tey will pop up. I would appreciate any feedbacjk on how you think these arrangements lay, and remain true to a melody.
Tim, only a certain number of 'featured' photos will show when one clicks to the Photos section.
But- if you then click on "View All" link within the abbreviated 'featured' section , it will take you to a page showing ALL the featured photos, here: http://minstrelbanjo.ning.com/photo/photo/listFeatured
Okay thanks...I did not know about that.
Beautifully done, Mark!
Thanks, Tim, I'll run through a few of these when I get a moment. I just think, in general, we might need to be careful about letting Briggs define "banjo style" or the idiosyncratic Rice, or whomever.
Mark, I'll let you elabrate a bit more on that thought before I reply.
WOW that is quiet a statement, look forward to hearing the evidence that suggests otherwise.
Mark-- That was a great interpretation of "Gumbo Chaff." My own version is a bit simpler than that. Also, as always, I'm a huge proponent of improvization and the ideal of never playing something through twice exactly the same way, if possible. Lots of the little embellishments or quirks in my playing have grown out of inadvertant mistakes, but if I like them I will incorporate them. I always say that if you play the right note at the wrong time it's a mistake. Conversely, if you play the wrong note at the right time, it's an intersting variation. My idea of this type of music is that it is free and improvisational in nature. That was certainly true of Dink Roberts' banjo music. He's the closest contemporary link I've ever heard to the wellsprings of this music. Anyway I just don't see the necessity or value of doctrinaire discussions about how to play this stuff. It's about as interesting as hearing old time musicians argue about whose playing is authentic and whose isn't. If it's a living art form , none of that should matter much.
I think that there is a lot of value in discussing how to play this music. That is one reason this place exists. Where else you gonna do it...and who else cares? At least we can have discussion about interpretation, unless you just want to have a big "feel good" club. I am open to, and support many ideas.....I learn much here all the time. Seeing something else and another point of of view always opens my eyes. Maybe I can open other eyes...I don't know. One thing for sure, and that is that most people have a fair amount of passion about this. All good! We should be able to challenge, discuss, and compare all of it....in good spirit. I think many people seek the elusive answer as to "what it was". As a contemporary art form all this falls into place there, and anything goes. I'm sure the old timers want folks to carry on with a spirit of adventure. We have to beware of factual claims. Opinions abound....but concrete conclusions about inconclusive evidence - that is a breeding ground for aruments.
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