I play this tune and lifted some double stop -based break & fill ideas off the JD Crowe & The New South version (on "Come on Down to My World") Also Sam Bush's break on the Lyle Lovett version is worth listening (not the Monroe style you're looking for I know, but does show how a "notey" apprach would get you past the simple melody.)
On Oct 15, 11:23 pm, "Don Grieser" <[EMAIL PROTECTED]> wrote: > I think you could get into some syncopation/rhythmic things with the > limited melody. Think about what Neil Young can do with a one note > solo. <g> > > > > On Wed, Oct 15, 2008 at 12:19 AM, Jonas Mattebo <[EMAIL PROTECTED]> wrote: > > Thanks! > > > I also always start with the melody when I make up new breaks. The thing > > with this tune 'White Freightliner Blues' is that the melody is kind of > > boring to play, it's more or less one prolonged note twice, and then a > > little variation at the end. It's a great song, but to play the melody is > > just not cutting it this time. > > > So far I've come up with a unison e-note on the a and e strings for the > > c-chord, followed by some 'slidin' around' in g chord position an d chord > > position and then ending up with the unison e again, but fretting the a > > string one half step down so it get's a little dissonant at the end... > > > It's hard to play crooked! I really love the crookedness of Monroe's > > playing. > > > /Jonas > > > 2008/10/15 Sally and Nelson Peddycoart <[EMAIL PROTECTED]> > > >> I am a pretty new player, with limited experience. If the tune is a > >> pretty quick one, I look for notes to break down (1 quarter note to 2 > >> eighths or 4 sixteenths). That helps fill voids. I also look for open > >> notes that I can move to a lower string and get a unison double. I also > >> look for places to add an additional chord note in appropriate places. I > >> like to use Finale because I can scan a melody line in and screw around > >> with > >> it then get it close to where I want then start playing around on the > >> instrument. > > >> This month's Mandolin Magazine has a short article by Butch Baldassari on > >> creating bluegrass breaks. > > >> There is a decent book by John McGann called "Developing Melodic > >> Variations on Fiddle Tunes", which carries you through different ways to > >> change a tune up. > > >> Take a look at Tater's pdf of Methodist Preacher in the files area and > >> compare it to the fiddle version. You'll be able to see/hear the nature > >> of > >> the adaptation. > > >> Nelson > > >> -----Original Message----- > >> From: [email protected] > >> [mailto:[EMAIL PROTECTED] On Behalf Of Robin Gravina > >> Sent: Tuesday, October 14, 2008 5:21 PM > >> To: [email protected] > >> Subject: Re: Thinking up breaks > > >> I also have to produce solos for public consumption, without having the > >> art or technique, but my theory and it is absolutely not guaranteed, is to > >> play blues licks from the chords with loads of strings going- e.g. for your > >> tune in C, when I was working on a solo for 'Sweet love aint around' in C, > >> I > >> took the Taterbug solo for 'Rocky Road Blues' which is on mandozine and > >> tried to just use the positions while bearing in mind the tune of the song. > >> If nothing else, it lets you hit some of the tune notes while playing with > >> a > >> load of sound rather than fiddling around with clever melody lines, which I > >> have to say I cannot do, and if you do it badly it sounds really weak. > > >> You could also try the Monroe and Bush versions of 'Walls of time' which > >> are both on the mandozine website and give you rocking things to play in > >> the > >> C and G chords... The Bush one just has to be moved over one string > >> downwards. > > >> Anyway, those ideas have made my soloing at least sound acceptable, when I > >> hit it right, even though the last thing it is is original! > > >> Best > > >> Robin > > >> On Tue, Oct 14, 2008 at 10:29 PM, Mark Seale <[EMAIL PROTECTED]> wrote: > > >> Jonas - > > >> For new tunes, I typically stick around the melody and the chord > >> progression. Then I focus on interesting transitions from one change to > >> the > >> next. Usually that will get you there in an old-time style. > > >> Mark > > >> On Tue, Oct 14, 2008 at 3:09 PM, Jonas Mattebo <[EMAIL PROTECTED]> > >> wrote: > > >> Dear All, > > >> How do you people approach designing tasteful mandolin breaks for > >> songs? Start with the melody, or play out of chord positions, or just > >> opening the box o' tricks & licks? I'm trying to play in the Monroe/ > >> Compton vein of mandolin playing, and I find it hard to come up with > >> new stuff still within this style. How do I approach it? > > >> For example, I'm now trying to come up with a break to the Townes Van > >> Zandt song 'White Freightliner Blues', and it's not really coming > >> along. (The problem is I'm supposed to play this song in front of a > >> 'trusting audience' this friday, so I'm running out of time!) > > >> Anyway, the song is kind of fast (for me) and the chords are: > >> C/C/G/G/(X2) > >> D/C/G/G > > >> How would you approach this? > > >> Thanks, > >> Jonas- Hide quoted text - > > - Show quoted text - --~--~---------~--~----~------------~-------~--~----~ You received this message because you are subscribed to the Google Groups "Taterbugmando" group. 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