Simple-Complicated-Simple

[Tim Twiss]

I know I go on and on about Converse and his fingerings, but I gotta go there again. This version of the old Minstrel classic (Camptown Race Track) gets a really specific treatment. He takes a simple tune, and seemingly makes it into a difficult arrangement (if you look at all those fingerings...combinations, hammers, and pulls). The result, if followed with diligence, gives a refreshingly simple result. Effortless, logical, and musical. I tubed it with a view of the right hand. Check into the book and see his arrangement. He even calls foe a hammer on full chords.

[Carl Anderton]

Some of the fingerings in the 1865 green book seem counter-intuitive to me. On the bass string he occasionally likes to shift positions using one finger when I'm perfectly comfortable using all my fingers. Perhaps he had small hands.

On the other hand (punny!) the fingerings as written often give a subtle phrasing suggestion--when you're shifting positions, you might play less staccato and more legato. That's just a guess, of course, but it's the kind of thing that any musician might ponder while studying "Without a Master."

What was it Master Greg Adams advised us?..."Be precise," or "be aware of how and why you're playing it,"... something like that. I try and keep that in mind while practicing.

[Tim Twiss]

Hey Carl, I know what you're saying, but give us something specific. By the way, the word was "intentional".

Carl Anderton said:

Some of the fingerings in the 1865 green book seem counter-intuitive to me. On the bass string he occasionally likes to shift positions using one finger when I'm perfectly comfortable using all my fingers. Perhaps he had small hands.

On the other hand (punny!) the fingerings as written often give a subtle phrasing suggestion--when you're shifting positions, you might play less staccato and more legato. That's just a guess, of course, but it's the kind of thing that any musician might ponder while studying "Without a Master."

What was it Master Greg Adams advised us?..."Be precise," or "be aware of how and why you're playing it,"... something like that. I try and keep that in mind while practicing.

[Carl Anderton]

"Be intentional," that's it. Mark it down in the book of Greg-isms.

Specific fingering example--"Old Seventy-Six," Converse '65, page 14, measure 8. Both the C# and the B are marked 2nd finger left hand, with a short position shift. I would rather use my 3rd and 2nd finger. Using just the one finger might suggest a different feel to the phrase, though, perhaps a more "correct" feel.

This is just a small example, on a very simple phrase of quarter notes; I'm sure more involved ones could be found.



Tim Twiss said:

Hey Carl, I know what you're saying, but give us something specific. By the way, the word was "intentional".

Carl Anderton said:

Some of the fingerings in the 1865 green book seem counter-intuitive to me. On the bass string he occasionally likes to shift positions using one finger when I'm perfectly comfortable using all my fingers. Perhaps he had small hands.

On the other hand (punny!) the fingerings as written often give a subtle phrasing suggestion--when you're shifting positions, you might play less staccato and more legato. That's just a guess, of course, but it's the kind of thing that any musician might ponder while studying "Without a Master."

What was it Master Greg Adams advised us?..."Be precise," or "be aware of how and why you're playing it,"... something like that. I try and keep that in mind while practicing.