Re: fiddle tunes on the mando
Hey Robin, I think Mr. Monroe was largely right about keeping that right hand in steady motion--it's really the only way to get around the problem of lack of sustain. I think the best thing I have in my admittedly small bag of tricks is a working slow tremelo. When you can really pull that off--and it's even and rhythmic--it sounds great. I also do pretty much most of what listed, especially in the way of drones and double-stops. Fiddle tunes seem to each have their own particular bounce or rushed passages, etc., that could never be translated into notation with any degree of sense, so listening repeatedly and having these go-to tools handy is the only way to play. If you listen to the Monroe with Flatt and Scruggs recordings Monroe repeatedly goes back to the same moves for more than a few of the songs, so I don't see anything wrong with it. As far as a tune I don't know, I pretty much lean on Third Era Monroe when playing with others, especially if the person calling the tune throws out Chipmunk Hanging in a Watermelon Vine or some other unknown stinker. There's every chance I'll stumble on the melody notes just by accident, and everything after that is pure artful obfuscation--keep my right hand moving, throw in some of his slide moves, that sort of thing. There was a time when doing that sort of thing worried me. I felt like if I wasn't playing the tune note for note then I was doing it wrong, but I've largely adapted a screw it, let's pick attitude that has improved my playing tremendously. For a tune like Honky Tonk Swing I'll still sweat it out, get down close to the bridge and try (as best I can) to get some of that Second Era Monroe in there. What's my point? I don't have the faintest idea, and since I haven't had my coffee yet there's every possibility this makes no sense at all, but there you have it. Steve From: Robin Gravina robin.grav...@gmail.com To: taterbugmando@googlegroups.com Sent: Tuesday, August 4, 2009 5:31:15 PM Subject: fiddle tunes on the mando Hi all finally got my illegal download of Ed Haley and have been listening to it whilst tending the stove. Also, I've been working on Jenny on the Railroad (no saucy comments please) and wondering about transferring fiddle tunes to the mandolin: I can play the thing, and have been trying to do a 'Poor White Folks' type position for a lot of it, but it doesn't sound right yet. We have the problem of transferring a very sustaining instrument to one that isn't and also of trying to play these tunes solo, at least in my case. What ideas and techniques do you all use? I find it really hard to match clarity with the feel that you need to get by using several strings. So far I can think of: -keeping a note going by tremolo, when the fiddle sustains -making a variation when the fiddle sustains -trying to keep at least a couple of strings going so that there is a drone -trying to keep the drive going by listening really hard to the stressed notes in the original -simplifying, Monroe style by keeping on very few notes at certain times -figuring out a variation an octave higher or lower -doing more rythmic variations of the notes - again like Monroe -putting in a blue note Would love to read some opinions about this - tone? many notes versus rhythm, ways of getting a drone... good night Robin --~--~-~--~~~---~--~~ You received this message because you are subscribed to the Google Groups Taterbugmando group. To post to this group, send email to taterbugmando@googlegroups.com To unsubscribe from this group, send email to taterbugmando+unsubscr...@googlegroups.com For more options, visit this group at http://groups.google.com/group/taterbugmando?hl=en -~--~~~~--~~--~--~---
Re: Utube videos
Your making some nice music there. Thanks for the link. On Aug 5, 8:01 am, Robin Gravina robin.grav...@gmail.com wrote: Just caught me before bed - but how could anyone laugh at that? Actually what interested me (for ripping it off reasons) was how you all got the harmonies without a high male voice, and with female voices: it's different, but works. It all sounds good, but I particularly like the guitar solo on' the one I love is gone'. The mando intro weren't half bad either! Robin On Tue, Aug 4, 2009 at 11:50 PM, Petimar p...@petimarpress.com wrote: http://www.youtube.com/user/xt981 Here are 3 videos of me. 2 are from the Nashville Network Bluegrass show Fire on the Mountain with the band Skyline Drifters. The one that may interest folks here is an unrecorded at that time Monroe tune, The One I Love is Gone anda banjo tune, Banjo Nova. The other is a recent version of Jazz standard Honeysuckle Rose. Don't laugh too hard. --~--~-~--~~~---~--~~ You received this message because you are subscribed to the Google Groups Taterbugmando group. To post to this group, send email to taterbugmando@googlegroups.com To unsubscribe from this group, send email to taterbugmando+unsubscr...@googlegroups.com For more options, visit this group at http://groups.google.com/group/taterbugmando?hl=en -~--~~~~--~~--~--~---
Re: fiddle tunes on the mando
likewise it makes sense and I have not only had my coffee, but also my lunch On Wed, Aug 5, 2009 at 2:50 PM, ljt lj...@intas.net.au wrote: This all makes a lot of sense to me. linda On Aug 5, 10:09 pm, Steve Cantrell sec...@bellsouth.net wrote: Hey Robin, I think Mr. Monroe was largely right about keeping that right hand in steady motion--it's really the only way to get around the problem of lack of sustain. I think the best thing I have in my admittedly small bag of tricks is a working slow tremelo. When you can really pull that off--and it's even and rhythmic--it sounds great. I also do pretty much most of what listed, especially in the way of drones and double-stops. Fiddle tunes seem to each have their own particular bounce or rushed passages, etc., that could never be translated into notation with any degree of sense, so listening repeatedly and having these go-to tools handy is the only way to play. If you listen to the Monroe with Flatt and Scruggs recordings Monroe repeatedly goes back to the same moves for more than a few of the songs, so I don't see anything wrong with it. As far as a tune I don't know, I pretty much lean on Third Era Monroe when playing with others, especially if the person calling the tune throws out Chipmunk Hanging in a Watermelon Vine or some other unknown stinker. There's every chance I'll stumble on the melody notes just by accident, and everything after that is pure artful obfuscation--keep my right hand moving, throw in some of his slide moves, that sort of thing. There was a time when doing that sort of thing worried me. I felt like if I wasn't playing the tune note for note then I was doing it wrong, but I've largely adapted a screw it, let's pick attitude that has improved my playing tremendously. For a tune like Honky Tonk Swing I'll still sweat it out, get down close to the bridge and try (as best I can) to get some of that Second Era Monroe in there. What's my point? I don't have the faintest idea, and since I haven't had my coffee yet there's every possibility this makes no sense at all, but there you have it. Steve From: Robin Gravina robin.grav...@gmail.com To: taterbugmando@googlegroups.com Sent: Tuesday, August 4, 2009 5:31:15 PM Subject: fiddle tunes on the mando Hi all finally got my illegal download of Ed Haley and have been listening to it whilst tending the stove. Also, I've been working on Jenny on the Railroad (no saucy comments please) and wondering about transferring fiddle tunes to the mandolin: I can play the thing, and have been trying to do a 'Poor White Folks' type position for a lot of it, but it doesn't sound right yet. We have the problem of transferring a very sustaining instrument to one that isn't and also of trying to play these tunes solo, at least in my case. What ideas and techniques do you all use? I find it really hard to match clarity with the feel that you need to get by using several strings. So far I can think of: -keeping a note going by tremolo, when the fiddle sustains -making a variation when the fiddle sustains -trying to keep at least a couple of strings going so that there is a drone -trying to keep the drive going by listening really hard to the stressed notes in the original -simplifying, Monroe style by keeping on very few notes at certain times -figuring out a variation an octave higher or lower -doing more rythmic variations of the notes - again like Monroe -putting in a blue note Would love to read some opinions about this - tone? many notes versus rhythm, ways of getting a drone... good night Robin --~--~-~--~~~---~--~~ You received this message because you are subscribed to the Google Groups Taterbugmando group. To post to this group, send email to taterbugmando@googlegroups.com To unsubscribe from this group, send email to taterbugmando+unsubscr...@googlegroups.com For more options, visit this group at http://groups.google.com/group/taterbugmando?hl=en -~--~~~~--~~--~--~---
Re: Utube videos
Like your shirt! :) Nice playing too. 4 aug 2009 kl. 23.50 skrev Petimar: http://www.youtube.com/user/xt981 Here are 3 videos of me. 2 are from the Nashville Network Bluegrass show Fire on the Mountain with the band Skyline Drifters. The one that may interest folks here is an unrecorded at that time Monroe tune, The One I Love is Gone anda banjo tune, Banjo Nova. The other is a recent version of Jazz standard Honeysuckle Rose. Don't laugh too hard. --~--~-~--~~~---~--~~ You received this message because you are subscribed to the Google Groups Taterbugmando group. To post to this group, send email to taterbugmando@googlegroups.com To unsubscribe from this group, send email to taterbugmando+unsubscr...@googlegroups.com For more options, visit this group at http://groups.google.com/group/taterbugmando?hl=en -~--~~~~--~~--~--~---
