I think Erik touched on this above (deconstructing melody?) The way in which Monroe (and also Compton) whittle down a fiddle tune to it's bare essentials is very interesting to me. For instance if a melody called for G F# G they might instead play three G notes in a row. Are these short cuts or are they intentional? This whittling down makes the tune more rhythmically powerful and is sort of the essence of the style. I think it also makes makes the tune much more presentable in a solo format. I suppose a detailed analysis could be made as to what scale tones were apt to be left out just like many folks try to teach how to embellish fiddle tune melodies. Were the edited notes based on convenience or are they based on tones or maybe both?
I for one and amazed when Tater shows me a fiddle tune and it he has some very clever way of playing something and I always wonder "now why didn't I think of that". Other course ideas..some veering away from Monroe Playing your mandolin solo (adding drones, chordal tones etc, foot taps.) Monroe - rare gems (Reelfoot Reel, Land of Lincoln, Chilly Winds) Monroe's Chop - compare his placement of 2 & 4 to other well known chops The idea of furnishing TAB pre-camp is a very good one. I think the Django camp folks do that. Perry -- 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=en.
