A couple potentially good ideas there Tater but I think I may save the accessories for my person as I was recently told by a nice elderly lady that I looked to skinny to hold a banjo for an entire show. I think I need all the help I can get.
There's no easy spot to even keep a capo on a mandolin. They fit so nicely in one of the holes of the banjo. Mike Hedding On Nov 18, 2009, at 5:51 PM, mistertaterbug <[email protected]> wrote: > Heddster, > You might as well get a tone guard shaped like your initials or > favorite body part, armrest, mute, string grommets and terry cloth > armband too. I'm just about ready to get myself a brace of some kind > for my index finger. Maybe popsicle sticks...? > > Whiner Bug > > On Nov 18, 8:56 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 athttp://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= > . > > -- You received this message because you are subscribed to the Google Groups "Taterbugmando" group. 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