For enthusiasts of early banjo
Come Shine out Peggy
-
Comment by Rob MacKillop on August 21, 2009 at 5:13am
-
When I first read through this I thought the first note was a misprint - it should be an E, as in the repeat of the same phrase starting from the last note of the first line. Another misprint could be the second note of the third line, which might be a g#, so all open strings. Anyone else think these might be misprints?
-
Comment by Tim Twiss on August 21, 2009 at 7:01am
-
The only one I changed was the C# in the 3rd measure....to B. I'll try the others you suggested. You will notice some similar stuff in "Power of Music", but the fingerings give a better case to support the change See M12. Not and F#, I believe. I changed it for my recording.
-
-
You are right about the C# in Bar 3. What a shame - we are taking out all the 'interesting' (i.e. odd) bits...
-
Comment by Trapdoor2 on August 21, 2009 at 1:19pm
-
Very odd piece. I keyed it into TablEdit at lunch and listened to the MIDI for a while before a walk thru on the banjo. I don't really hear harmonic problems with the notes y'all are commenting on...but the rhythm is really disjointed in the A part. If you go by the repeat, you're missing a half-beat (quaver, or 1/8th note)...there ought to be a rest (1/8) in m9. BTW, I'm counting that first D as m1...maybe that's incorrect? The 1/8th rest is there, just in m10...the start of the B part.
Now, that works fine with the tail of the B part, giving us a full beat rest before diving back into B and a full two beats to get back into A. I just think there's something screwy rhythmically there. I didn't really have the time to mess around with solutions (or indeed, make the changes y'all are suggesting). I'll play with it some more tonight.
-
-
Well, I missed the obvious - there is indeed a quaver rest missing from the A section last bar, bar 8 [normally, Marc, the counting of bar numbers starts from the first full bar]. The more you look at it, the more weird it looks. However, I think it is quite simple once the rhythm and harmony is corrected. But...I hate doing this. Sometimes I just like to leave things as odd as I find them.
-
-
[normally, Marc, the counting of bar numbers starts from the first full bar]
See? I told you I am learning something new every day here. I've never found that mentioned: "how to count measures". Probably because it is so basic.
-
-
Well, it's all getting confused these days as music typesetting programs like Sibelius count the upbeat as a bar by default. So unless you change it, the whole things is out. The main thing in baroque and early classical music is that you have two four-bar phrases in the A section, balanced by two, three or four four-bar phrases in the B section. So having the A section end on bar 9 - well, it just won't do! It's like having a 13-bar blues just because the guitarist plays an upbeat lick at the beginning. Whoever heard of a 13-bar blues? Frank Zappa probably did one...
-
-
Yes, TablEdit provides two different 'counters', one counts 'absolute measures' and the other does not count "pick up" measures. When I migrate a piece of sheet music from dots to notation, I count everything...which makes it easier for me to track.
13-bar blues...great example. I see where it does get confusing.
Comment
About
© 2024 Created by John Masciale.
Powered by
You need to be a member of Minstrel Banjo to add comments!
Join Minstrel Banjo