That "Lift Him Up" cut is one of my favs. On Wed, Nov 18, 2009 at 7:56 AM, Mike Hedding <[email protected]> wrote: > Alright at the advice of everyone I am going to just be myself then. > > I am keeping my tuner on my headstock and no one is going to stop me! > > Mike Hedding > > > On Nov 18, 2009, at 7:53 AM, mistertaterbug <[email protected]> > wrote: > >> If anyone cares to, go to "Remember the Cross" and "That Home Above" >> by the Monroe/Flatt/Scruggs/Wise/Rainwater band. One is clearly B, the >> other B flat. But, they are both clearly played out of A. There are a >> number of other noteworthy cuts, "The First Whippoorwill" for one, >> that are played out of one key but are clearly not pitched in that >> key. So, did fucking Bill Monroe (to quote fucking Gaudreau) tune up >> or capo up? It's not tape drag. As Terry Bullin once said,"Well, maybe >> he did it in the studio but surely he wouldn't have done it out in >> public." It's just silly. If the situation requires a different voice >> and the capo provides it, use it. When did it become against the rules >> to use the tools? >> >> I started using a capo now and then due to saving time and aggravation >> in the studio. Also, open tunings. I'd really love to use more open >> tunings. Listen to the cut on Dr. Ralph's recording of "Lift Him Up". >> That's tuned open, but there were a few songs where we tuned open only >> to have TBone say that he'd like to go up a half step. Now, retuning 8 >> strings on a mandolin every which way and expecting it to settle down >> in a few minutes is just unreasonable. Slapping on a capo is not, >> especially when time is money. >> >> As for working up solos and improvising... >> I think that maybe we can go back to "the Father" one more time and >> consider this approach. Over the years, if I listen to songs that >> Monroe did over a number of decades, such as "Uncle Pen", "On and On", >> "Bluegrass Breakdown", etc, what I hear is a script, a framework over >> which variations are applied. I'm not talking about the construction >> of the song so much as I am the construction of his solos in the song. >> It seems that he worked out a solo that served as the basic pattern to >> follow, but changed small aspects of it occasionally as his whim >> dictated. But the basic "script" was predominantly the same. This may >> be helpful, maybe not. Just thought I'd throw it out there. >> >> I had a short conversation with Russ Barenburg the other day and the >> subject of improvisation came up. He said that he occasionally has >> people ask him about improvising, as do I. It's really an individual >> learning experience and there doesn't seem to be any one way to >> approach it or teach it. He said that to him it is ridiculous to >> assume that it is possible to whip out an improvised solo that rivals >> something that requires one sitting down and working it out and >> learning it over the course of say, several months. But that seems to >> be what some people assume they will be able to do with a few >> "rules". I think that it is easy to overlook the fact that the sound >> our heros have/had did not just appear overnight but took sometimes a >> lifetime of blood, sweat, and tears to acquire. There is too much >> impatience in us all. >> >> I think that Eric has a valid point, that being each song deserves a >> look to see what the best approach is. I agree with Eric too (Who is >> this Eric guy? He seems to know a lot of stuff...) regarding using >> tunings and capos, if a person wants a specific sound, go where it is >> regardless of how you need to get there. As John Hartford used to say >> (and I know I've quoted him saying this before...), "This is art and >> there ain't no damned rules." >> >> Be bold, be yourself, be honest. The audience can spot a phony from >> the back row. >> >> Puhtater >> >> On Nov 17, 6:46 pm, [email protected] wrote: >>> Ron Spears tells a very good Jimmy Gaudreau capo story. At a gig >>> somewhere, Jimmy put a capo on his mandolin and Ron >>> gave him the "hairy eyeball" as only Ron can do and Jimmy got right >>> in Ron's face and says "I ain't fucking Bill Monroe." >>> Might even be true. >>> >>> Clyde Clevenger >>> Just My Opinion, But It's Right >>> Salem, Oregon >>> Old Circle >>> >>> ----- Original Message ----- >>> From: "Don Grieser" <[email protected]> >>> To: [email protected] >>> Sent: Tuesday, November 17, 2009 4:36:23 PM GMT -08:00 US/Canada >>> Pacific >>> Subject: Re: Thinking more outside of a Jam >>> >>> I saw Jimmy Gaudreau use a capo on his mandolin at a bluegrass >>> festival. It sounded great. It's a tool. Use it for a certain sound >>> or >>> effect but not because you're too lazy to learn to play in Bb or B. >>> Monroe style players play out of closed positions anyway even when >>> they don't have to, right? >> >> -- >> >> You received this message because you are subscribed to the Google >> Groups "Taterbugmando" group. >> To post to this group, send email to [email protected]. >> To unsubscribe from this group, send email to >> [email protected] >> . >> For more options, visit this group at >> http://groups.google.com/group/taterbugmando?hl= >> . >> >> > > -- > > You received this message because you are subscribed to the Google Groups > "Taterbugmando" group. > To post to this group, send email to [email protected]. > To unsubscribe from this group, send email to > [email protected]. > For more options, visit this group at > http://groups.google.com/group/taterbugmando?hl=. > > >
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