I am a crap singer, but this is the first time I've been able to play back-up on a song and sing at the same time, so for me its an achievement!
Wrecked '97
I know - don't give up the day job!
Wednesday 29 April 2009
Sunday 26 April 2009
Boil 'em Cabbage Down (drop thumbing)
Been working hard on my drop thumbing technique, which is a tricky but great way of breaking the monotony of the 'bump ditty' frailing rhythm. It's hard to get the thumb to drop down and pluck an eighth note before the fifth string pluck, but its getting automatic now and gives a useful variation to throw into a tune.
Here's my version of Boil 'em Cabbage Down using drop thumbing.
Thursday 23 April 2009
Rachel Harrington - In the Dock May 22nd
Kate from In the Dock writes:
Hi there,
Just a quick email to remind you that tickets are now on sale for Rachel Harrington on 22nd May at The Old Courthouse. You can purchase them by visiting http://www.inthedock.net/
‘With Rachel Harrington, no journey’s required; this lady is the very embodiment of Americana. Born and raised in small town Oregon, Rachel lived on a diet of bluegrass. Together with a strong gospel influence and her dad’s secret stash of Motown records, there’s no disguising her roots. Compared to some of her contemporaries, Rachel’s music is sweet and thoughtful, yet packs an unassuming punch when delivered with such a striking voice. She’s chalked up a couple of (highly acclaimed) albums and already the likes of Bob Harris are among her many fans. You get the feeling that this lady and her sublime music have much further to travel; so catch her whilst you can.’
Rachel will be appearing on Mary Ann Kennedy’s show ‘World On 3’ on BBC Radio 3 on Friday 24th April at 11.15 pm (or you can always ‘listen again’ on BBC website). Otherwise visit her website http://www.rachelharrington.net/.
The show will open with the talented young singer songwriter Lights. Lights will be come to us direct from a headline show at Fibbers in York and this is definitely an up and coming artist to watch out for. His music and style reference both Bon Iver and Ray LaMontagne, he’s really worth catching. Hear him at his myspace page: www.myspace.com/lightsyork
Hi there,
Just a quick email to remind you that tickets are now on sale for Rachel Harrington on 22nd May at The Old Courthouse. You can purchase them by visiting http://www.inthedock.net/
‘With Rachel Harrington, no journey’s required; this lady is the very embodiment of Americana. Born and raised in small town Oregon, Rachel lived on a diet of bluegrass. Together with a strong gospel influence and her dad’s secret stash of Motown records, there’s no disguising her roots. Compared to some of her contemporaries, Rachel’s music is sweet and thoughtful, yet packs an unassuming punch when delivered with such a striking voice. She’s chalked up a couple of (highly acclaimed) albums and already the likes of Bob Harris are among her many fans. You get the feeling that this lady and her sublime music have much further to travel; so catch her whilst you can.’
Rachel will be appearing on Mary Ann Kennedy’s show ‘World On 3’ on BBC Radio 3 on Friday 24th April at 11.15 pm (or you can always ‘listen again’ on BBC website). Otherwise visit her website http://www.rachelharrington.net/.
The show will open with the talented young singer songwriter Lights. Lights will be come to us direct from a headline show at Fibbers in York and this is definitely an up and coming artist to watch out for. His music and style reference both Bon Iver and Ray LaMontagne, he’s really worth catching. Hear him at his myspace page: www.myspace.com/lightsyork
Monday 20 April 2009
Songs What We Have (almost) Learned
After posting a pretty lengthy song list for last nights jam we only got through six, and one of them wasn't even on the list. They sound pretty rough and ready, but its only our second practice together. Highlights are MC Clawhammer's Foggy Mountain, Cowboy Waltz and Irish Washerwoman.
Old '97
Cowboy Waltz
Cripple Creek
Foogy Mountain Breakdown
Irish Washerwoman
Wildwood Flower
Old '97
Cowboy Waltz
Cripple Creek
Foogy Mountain Breakdown
Irish Washerwoman
Wildwood Flower
Saturday 18 April 2009
Friday 17 April 2009
Foggy Mountain Breakdown
I think we'll play back-up while MC Clawhammer takes the lead!
Patrick Costello has a frailing version 'Foggy Mountain Fakedown'
You can also down load the PDF tab from Patrick's Daily Frail Archive at
http://ia350607.us.archive.org/3/items/TheDailyFrail62807/FoggyMountainFakedown.pdf
Thursday 16 April 2009
Playlist for Monday's Jam - and a couple of tunes
MC Clawhammer's sent in a couple of songs Wildwood Flower and Foggy Mountain Breakdown. The kids obviously love it!
Banks of the Ohio in A
This is the first thing I've recorded using a capo to tune the banjo up into A. I also tuned up the fifth string to A as well, not sure if this what you are supposed to do but it sounded bad without... not that it's that great with.
Playlist for Monday night's jam.
Banks of the Ohio in A
This is the first thing I've recorded using a capo to tune the banjo up into A. I also tuned up the fifth string to A as well, not sure if this what you are supposed to do but it sounded bad without... not that it's that great with.
Playlist for Monday night's jam.
- Jesse James
- Wildwood Flower
- Cripple Creek
- Foggy Mountain Breakdown
Suggestions
- Whiskey in the Jar
- Worried Man Blues
- Camptown Races
- Wabash Cannonball (in C - I'll copy the tab)
- Shortnin Bread
- Dirty Old Town
- Wreck of the Old '97
- Irish Washerwoman
Tuesday 14 April 2009
Music Lessons Part Four: Chords and Scales
These are tables showing the Major scales and the construction of their harmonising chords.
I haven't done flats and sharps yet!
I haven't done flats and sharps yet!
Saturday 11 April 2009
Music Lessons Part Three: Eureka Moment... I think!
It happened ! after weeks of brain hurt I finally got it, and it was so obvious (now) that I don't know why I had such a problem seeing it in the first place.
Over the past few months I've been having music lessons with Stan Gee (see links) and we've been looking at theory. I'm desperate to know why songs, tunes melodies - whatever - are the way they are, and so many music books don't tell you. Probably, because at first it makes your head hurt.
After months of looking at the Chromatic Scale, the Major Scale and Harmonising the Scale it seemed to click. I couldn't get past the construction of the individual harmonising chords that relate to particular scales. It's the relationship between the individual notes in a scale, and their position in that scale which determines which chords will harmonise, and what chords they will be - major, minor, seventh, diminished etc.
Here's how I understand it. (correct me if I'm wrong)
A chord is composed of three (or more) alternate notes from the scale ie C Major (see diagram), the Root (1), the Third (3) and the Fifth(5). So, a C chord is C(root), E(third) and G(5).
The C Major Scale
1 2 3 4 5 6 7 8
C D E F G A B C
It might seem obvious, and it should have been to me, but for some reason, the Root, third, fifth relationship hadn't equated with the idea of alternate notes from the scale!!!!! doh!
Once it sunk in, it was like a light going on and a lot of the other stuff we've been working on suddenly made sense as well.
The harmonising chords which can be constructed from a scale follow a set sequence. eg C major
1 2 3 4 5 6 7 8
major minor minor major seventh minor diminished major
C Dm Em F G7 Am Bdim C
All major scales follow this relationship with their harmonising chords and the sequence of major and minor chords is the product of the space between the notes in the scale, because the semi-tone between B and C, and E and F produces flattened thirds and fifths when you make the sequence of alternating notes from the scale.
ie root, tone, tone, semi-tone, tone, tone, tone, semi-tone
1 2 3 4 5 6 7 8
C D E F G A B C
G A B C D E F# G
The D chord in the key of C is Dm - D(root) F(third) A(fifth) because the F(third) is flattened because it is only a semi-tone from E.
The A chord in the key of G is Am - A(root) C(third) E(fifth) because the C(third) is a flattened third as it is only a semi-tone from B.
It still seems complicated but once you understand the structure of the major scale and the root, third, fifth chord construction the pattern of major and minor chords builds itself and follows for every major key.
If you are at all interested in why you are playing what is written down, then a few theory lessons - if you can bare it - is well worth the effort, frustration and brain-ache.
The chord diagrams are from Banjo Blogger (see links), which is a good online resource.
Over the past few months I've been having music lessons with Stan Gee (see links) and we've been looking at theory. I'm desperate to know why songs, tunes melodies - whatever - are the way they are, and so many music books don't tell you. Probably, because at first it makes your head hurt.
After months of looking at the Chromatic Scale, the Major Scale and Harmonising the Scale it seemed to click. I couldn't get past the construction of the individual harmonising chords that relate to particular scales. It's the relationship between the individual notes in a scale, and their position in that scale which determines which chords will harmonise, and what chords they will be - major, minor, seventh, diminished etc.
Here's how I understand it. (correct me if I'm wrong)
A chord is composed of three (or more) alternate notes from the scale ie C Major (see diagram), the Root (1), the Third (3) and the Fifth(5). So, a C chord is C(root), E(third) and G(5).
The C Major Scale
1 2 3 4 5 6 7 8
C D E F G A B C
It might seem obvious, and it should have been to me, but for some reason, the Root, third, fifth relationship hadn't equated with the idea of alternate notes from the scale!!!!! doh!
Once it sunk in, it was like a light going on and a lot of the other stuff we've been working on suddenly made sense as well.
The harmonising chords which can be constructed from a scale follow a set sequence. eg C major
1 2 3 4 5 6 7 8
major minor minor major seventh minor diminished major
C Dm Em F G7 Am Bdim C
All major scales follow this relationship with their harmonising chords and the sequence of major and minor chords is the product of the space between the notes in the scale, because the semi-tone between B and C, and E and F produces flattened thirds and fifths when you make the sequence of alternating notes from the scale.
ie root, tone, tone, semi-tone, tone, tone, tone, semi-tone
1 2 3 4 5 6 7 8
C D E F G A B C
G A B C D E F# G
The D chord in the key of C is Dm - D(root) F(third) A(fifth) because the F(third) is flattened because it is only a semi-tone from E.
The A chord in the key of G is Am - A(root) C(third) E(fifth) because the C(third) is a flattened third as it is only a semi-tone from B.
It still seems complicated but once you understand the structure of the major scale and the root, third, fifth chord construction the pattern of major and minor chords builds itself and follows for every major key.
If you are at all interested in why you are playing what is written down, then a few theory lessons - if you can bare it - is well worth the effort, frustration and brain-ache.
The chord diagrams are from Banjo Blogger (see links), which is a good online resource.
Monday 6 April 2009
Singing and Playing
Finding the Ukuele an easier instrument to sing along with.
This is my first ever atempt at singing - that's why I'm so quiet!
Boil 'em Cabbage Down
back to the banjo
Banks of the Ohio
Still wrestling with the F chord of death.
Wabash Cannonball
This is my first ever atempt at singing - that's why I'm so quiet!
Boil 'em Cabbage Down
back to the banjo
Banks of the Ohio
Still wrestling with the F chord of death.
Wabash Cannonball
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