Re: Anybody Else Experience This?
I've been working off and on at Garfield's Blackberry Blossom for about 8-9 years. My version still stinks. What in hell is it about that tune? Tbug On Apr 14, 8:35 pm, taurodont jgardin...@roadrunner.com wrote: Yeah, this is part of the learning process for me. I just keep coming back to them over and over. This is how you weed out the tunes that aren't worth spending time on. Sometimes they stick pretty quickly and sometimes it takes years. I guess one could spend their whole life tryin' to get a song just right but what's the point. Play it the best you can at that point in time and move on to the next one. They all get better eventually. John On Apr 14, 3:30 pm, 14strings perrypale...@gmail.com wrote: Probably that's why lots of old-time players had only 20 or so tunes they considered theirs. Great pointbetter to play X number of tunes really good with your own stamp then x amount half-way. Sort of takes the stress off too. -- You received this message because you are subscribed to the Google Groups Taterbugmando group. To post to this group, send email to taterbugma...@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: Anybody Else Experience This?
Its funny this tune keeps coming up in discussion. I learned it (continue to work on it) after much discussion about it here. The funny thing to me is you get a general disagreement about the key and accompaniment depending on who you play with. I've played with folks who want to play it in straight G and those that play it in Gm. Some folks want to play it pretty quick and with a straight timing, some a little slower with the changing timing. Its a tune that really just changes based on your mood and approach. I like it in Gm and fairly laid back, like you're milking the notes. M On Thu, Apr 15, 2010 at 9:20 AM, mistertaterbug taterbugmu...@gmail.comwrote: I've been working off and on at Garfield's Blackberry Blossom for about 8-9 years. My version still stinks. What in hell is it about that tune? Tbug On Apr 14, 8:35 pm, taurodont jgardin...@roadrunner.com wrote: Yeah, this is part of the learning process for me. I just keep coming back to them over and over. This is how you weed out the tunes that aren't worth spending time on. Sometimes they stick pretty quickly and sometimes it takes years. I guess one could spend their whole life tryin' to get a song just right but what's the point. Play it the best you can at that point in time and move on to the next one. They all get better eventually. John On Apr 14, 3:30 pm, 14strings perrypale...@gmail.com wrote: Probably that's why lots of old-time players had only 20 or so tunes they considered theirs. Great pointbetter to play X number of tunes really good with your own stamp then x amount half-way. Sort of takes the stress off too. -- You received this message because you are subscribed to the Google Groups Taterbugmando group. To post to this group, send email to taterbugma...@googlegroups.com. To unsubscribe from this group, send email to taterbugmando+unsubscr...@googlegroups.comtaterbugmando%2bunsubscr...@googlegroups.com . For more options, visit this group at http://groups.google.com/group/taterbugmando?hl=en. -- You received this message because you are subscribed to the Google Groups Taterbugmando group. To post to this group, send email to taterbugma...@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: Anybody Else Experience This?
On 4/15/10 9:27 AM, Mark Seale wrote: I like it in Gm and fairly laid back, like you're milking the notes. M Mm. Note milk. -- You received this message because you are subscribed to the Google Groups Taterbugmando group. To post to this group, send email to taterbugma...@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: Anybody Else Experience This?
Yes, I started looking at this recently after all the discussion: really hard to make it have the flow of the fiddle version, and a conundrum about how to approach the long notes... must be good for you On Thu, Apr 15, 2010 at 4:28 PM, Fred Keller fkel...@scicable.net wrote: On 4/15/10 9:27 AM, Mark Seale wrote: I like it in Gm and fairly laid back, like you're milking the notes. M Mm. Note milk. -- You received this message because you are subscribed to the Google Groups Taterbugmando group. To post to this group, send email to taterbugma...@googlegroups.com. To unsubscribe from this group, send email to taterbugmando+unsubscr...@googlegroups.comtaterbugmando%2bunsubscr...@googlegroups.com . For more options, visit this group at http://groups.google.com/group/taterbugmando?hl=en. -- You received this message because you are subscribed to the Google Groups Taterbugmando group. To post to this group, send email to taterbugma...@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: Anybody Else Experience This?
The journey is the reward. I don't know how long it took to get to the video below but I sure learned a lot along the way. I know it took several years to get the 10 tunes on my CD done. Sandy River Belle in GDGD tuning, borrowed heavily from Skip Gorman's version from his Mandolin in the Cow Camp CD. http://www.youtube.com/watch?v=aYi4TmDvPCI -- My CD of original tunes played on mandolin, mandola, and mandocello http://www.HillbillyChamberMusic.com -- You received this message because you are subscribed to the Google Groups Taterbugmando group. To post to this group, send email to taterbugma...@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.
My approach to playing the mandolin was completely wrong!!!
OK, Sir Tater told me to post this here, so here goes. ... I recently had an epiphany -- like a flash, like a vision written across the night sky! -- that everything I'd been doing visa vis the mandolin was 100 percent certified bass ackward. Realizing the error of my ways, I have written my Mandolin Player's Manifesto, which follows. Selah. EL MANDOLIN MANIFESTO 1. LISTEN: The place to start learning any tune is listening to a recorded version of it. Lots. Notation and tab are a useful adjunct to working out fingering and difficult passages, but shouldn’t be used as the primary source. 2. LEARN THE DAMN CHORDS: When you start playing a tune, the first thing to do is learn the chord progression. If you haven’t internalized the chord structure, you don’t really know the tune. 3. NOW, FINALLY, LEARN THE MELODY: Once you know the chords, work up the melody line. Do not overly rely on a written arrangement. These tunes generally are not intended to be played exactly the same every time. Refer back to recorded versions for reference and ideas about variations. 4. REGARDING SOLOS: As a general rule, solos should stick close to the melody. There’s nothing wrong with just playing the tune when your turn come around. The next step is to work up some variations. It is advisable to stick close to the melody and the chord progression. A solo is not a collection of fast notes, scales and riffs; it is an exposition of the basic melody. * (see footnote) 5. PLAY NICELY WITH OTHERS: Bluegrass is not a solo endeavor. You practice in the living room in order to get good enough to play with other musicians in public, whether it’s a backyard jam or a paying gig. If you and your mandolin never get off the family room couch, you're missing the boat. * Solos footnote: Players should avoid coming at bluegrass solos from a rock/blues lead guitar perspective. Many rock songs have a simple I- IV-V chord structure and minimalist melody. For example, “Johnny B. Good” is basically a one-note melody following a three-chord progression. Rock/blues guitar solos generally do not stay close to the melody to avoid being repetitious. Only Syd Barrett played one- note solos -- and he went insane and Pink Floyd kicked him out. -- You received this message because you are subscribed to the Google Groups Taterbugmando group. To post to this group, send email to taterbugma...@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: Gibson woes
I should add that I play a Gibson, love it, and don't think the pricing is out of line, though I was stunned when the increases first came through. -- You received this message because you are subscribed to the Google Groups Taterbugmando group. To post to this group, send email to taterbugma...@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: My approach to playing the mandolin was completely wrong!!!
Nice one! Sounds so simple, but I went through a similar epiphany under tater instruction, after not really getting it for a long time. I would add to never forget that music is about time as much or more as melody. 2010/4/15, mgromkey mgrom...@gmail.com: OK, Sir Tater told me to post this here, so here goes. ... I recently had an epiphany -- like a flash, like a vision written across the night sky! -- that everything I'd been doing visa vis the mandolin was 100 percent certified bass ackward. Realizing the error of my ways, I have written my Mandolin Player's Manifesto, which follows. Selah. EL MANDOLIN MANIFESTO 1. LISTEN: The place to start learning any tune is listening to a recorded version of it. Lots. Notation and tab are a useful adjunct to working out fingering and difficult passages, but shouldn’t be used as the primary source. 2. LEARN THE DAMN CHORDS: When you start playing a tune, the first thing to do is learn the chord progression. If you haven’t internalized the chord structure, you don’t really know the tune. 3. NOW, FINALLY, LEARN THE MELODY: Once you know the chords, work up the melody line. Do not overly rely on a written arrangement. These tunes generally are not intended to be played exactly the same every time. Refer back to recorded versions for reference and ideas about variations. 4. REGARDING SOLOS: As a general rule, solos should stick close to the melody. There’s nothing wrong with just playing the tune when your turn come around. The next step is to work up some variations. It is advisable to stick close to the melody and the chord progression. A solo is not a collection of fast notes, scales and riffs; it is an exposition of the basic melody. * (see footnote) 5. PLAY NICELY WITH OTHERS: Bluegrass is not a solo endeavor. You practice in the living room in order to get good enough to play with other musicians in public, whether it’s a backyard jam or a paying gig. If you and your mandolin never get off the family room couch, you're missing the boat. * Solos footnote: Players should avoid coming at bluegrass solos from a rock/blues lead guitar perspective. Many rock songs have a simple I- IV-V chord structure and minimalist melody. For example, “Johnny B. Good” is basically a one-note melody following a three-chord progression. Rock/blues guitar solos generally do not stay close to the melody to avoid being repetitious. Only Syd Barrett played one- note solos -- and he went insane and Pink Floyd kicked him out. -- You received this message because you are subscribed to the Google Groups Taterbugmando group. To post to this group, send email to taterbugma...@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. -- Enviado desde mi dispositivo móvil -- You received this message because you are subscribed to the Google Groups Taterbugmando group. To post to this group, send email to taterbugma...@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: My approach to playing the mandolin was completely wrong!!!
Great list, and I can say, my failing has ALWAYS been on step 2. But, I'm getting better at that. Mark On Thu, Apr 15, 2010 at 1:33 PM, mgromkey mgrom...@gmail.com wrote: OK, Sir Tater told me to post this here, so here goes. ... I recently had an epiphany -- like a flash, like a vision written across the night sky! -- that everything I'd been doing visa vis the mandolin was 100 percent certified bass ackward. Realizing the error of my ways, I have written my Mandolin Player's Manifesto, which follows. Selah. EL MANDOLIN MANIFESTO 1. LISTEN: The place to start learning any tune is listening to a recorded version of it. Lots. Notation and tab are a useful adjunct to working out fingering and difficult passages, but shouldn’t be used as the primary source. 2. LEARN THE DAMN CHORDS: When you start playing a tune, the first thing to do is learn the chord progression. If you haven’t internalized the chord structure, you don’t really know the tune. 3. NOW, FINALLY, LEARN THE MELODY: Once you know the chords, work up the melody line. Do not overly rely on a written arrangement. These tunes generally are not intended to be played exactly the same every time. Refer back to recorded versions for reference and ideas about variations. 4. REGARDING SOLOS: As a general rule, solos should stick close to the melody. There’s nothing wrong with just playing the tune when your turn come around. The next step is to work up some variations. It is advisable to stick close to the melody and the chord progression. A solo is not a collection of fast notes, scales and riffs; it is an exposition of the basic melody. * (see footnote) 5. PLAY NICELY WITH OTHERS: Bluegrass is not a solo endeavor. You practice in the living room in order to get good enough to play with other musicians in public, whether it’s a backyard jam or a paying gig. If you and your mandolin never get off the family room couch, you're missing the boat. * Solos footnote: Players should avoid coming at bluegrass solos from a rock/blues lead guitar perspective. Many rock songs have a simple I- IV-V chord structure and minimalist melody. For example, “Johnny B. Good” is basically a one-note melody following a three-chord progression. Rock/blues guitar solos generally do not stay close to the melody to avoid being repetitious. Only Syd Barrett played one- note solos -- and he went insane and Pink Floyd kicked him out. -- You received this message because you are subscribed to the Google Groups Taterbugmando group. To post to this group, send email to taterbugma...@googlegroups.com. To unsubscribe from this group, send email to taterbugmando+unsubscr...@googlegroups.comtaterbugmando%2bunsubscr...@googlegroups.com . For more options, visit this group at http://groups.google.com/group/taterbugmando?hl=en. -- You received this message because you are subscribed to the Google Groups Taterbugmando group. To post to this group, send email to taterbugma...@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: My approach to playing the mandolin was completely wrong!!!
And since most of tater's tabs are sans chords, its a good learning exercise, on its own, to figure out the chords that work. Great list and comments, need to print and put on the fridge. thanks linda On Apr 16, 5:03 am, Mark Seale mark.se...@gmail.com wrote: Great list, and I can say, my failing has ALWAYS been on step 2. But, I'm getting better at that. Mark On Thu, Apr 15, 2010 at 1:33 PM, mgromkey mgrom...@gmail.com wrote: OK, Sir Tater told me to post this here, so here goes. ... I recently had an epiphany -- like a flash, like a vision written across the night sky! -- that everything I'd been doing visa vis the mandolin was 100 percent certified bass ackward. Realizing the error of my ways, I have written my Mandolin Player's Manifesto, which follows. Selah. EL MANDOLIN MANIFESTO 1. LISTEN: The place to start learning any tune is listening to a recorded version of it. Lots. Notation and tab are a useful adjunct to working out fingering and difficult passages, but shouldn’t be used as the primary source. 2. LEARN THE DAMN CHORDS: When you start playing a tune, the first thing to do is learn the chord progression. If you haven’t internalized the chord structure, you don’t really know the tune. 3. NOW, FINALLY, LEARN THE MELODY: Once you know the chords, work up the melody line. Do not overly rely on a written arrangement. These tunes generally are not intended to be played exactly the same every time. Refer back to recorded versions for reference and ideas about variations. 4. REGARDING SOLOS: As a general rule, solos should stick close to the melody. There’s nothing wrong with just playing the tune when your turn come around. The next step is to work up some variations. It is advisable to stick close to the melody and the chord progression. A solo is not a collection of fast notes, scales and riffs; it is an exposition of the basic melody. * (see footnote) 5. PLAY NICELY WITH OTHERS: Bluegrass is not a solo endeavor. You practice in the living room in order to get good enough to play with other musicians in public, whether it’s a backyard jam or a paying gig. If you and your mandolin never get off the family room couch, you're missing the boat. * Solos footnote: Players should avoid coming at bluegrass solos from a rock/blues lead guitar perspective. Many rock songs have a simple I- IV-V chord structure and minimalist melody. For example, “Johnny B. Good” is basically a one-note melody following a three-chord progression. Rock/blues guitar solos generally do not stay close to the melody to avoid being repetitious. Only Syd Barrett played one- note solos -- and he went insane and Pink Floyd kicked him out. -- You received this message because you are subscribed to the Google Groups Taterbugmando group. To post to this group, send email to taterbugma...@googlegroups.com. To unsubscribe from this group, send email to taterbugmando+unsubscr...@googlegroups.comtaterbugmando%2bunsubscr...@googlegroups.com . For more options, visit this group at http://groups.google.com/group/taterbugmando?hl=en. -- You received this message because you are subscribed to the Google Groups Taterbugmando group. To post to this group, send email to taterbugma...@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.
