You can transition to a more traditional thumb lead using the middle finger on the 2nd string, but it changes the tone pattern (plastic vs. I heard in an interview he taught himself single string and started with his index. Pretend you're Wes Corbett, and start with the index finger since you've just used your thumb. Listening to the recording will help immensely. The same is true for the following two quarter notes on the 2nd string at the 8th fret. Release the string with your fretting hand, making that note staccato (note the rest) as well as the following two quarter notes on the 1st string. It isn't anticipated as a 16th note, and your picking index finger jumps up to the 4th string to execute the slide in the following measure. Alan does this so well, the open 3rd and 1st strings are hardly noticed.īe sure not to rush the hammer-on at the down beat of the B section.
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In the first, full measure, I use my pinky for the hammer-on to facilitate an easier maneuver for the ring finger on the 3rd string-7th fret and the middle finger on the 2nd string-2nd fret, but if that isn't comfortable for you, do what is! At the 2nd ending, make sure to bring out the syncopated line with the 5-4-3 on the D string. After several slowed down listens, thanks to YouTube’s speed setting, I feel I have a solid representation of the tune. Still green in the world of transcribing banjo tunes, I decided to take on the challenge. YouTube only offered the recording by the Nashville Bluegrass Band. After hearing this on the radio, I quickly perused the Hangout for the tab but only found someone’s request for it. Notes: If you’re looking for a fun tune that combines melodics, single string, and a swing feel, look no further than Alan O’Bryant’s Big Cow in Carlisle. You can find Keith's recording of it on his 1992 CD "Beating Around the Bush," which should be in every bluegrass banjo player's collection.
The second break is reminiscent of Bill Keith's version and includes some neat ideas. The first break resembles the way Shelton played BTS, but it is not note-for-note. I have tabbed it so you can play it without D tuners, although I have indicated above the tab the proper moves if you have tuners. I read somewhere that he wrote it when he was a teenager, an indication of how talented he was. Bending the Strings is a clever original piece by Shelton, and one that involves the use of Keith/Scruggs tuners. It was a thrill to see him with Jim and Jesse at the University of Chicago Folk Festival in 1966, where he wowed the audience (and me) with his banjo prowess.
Notes: Along with Earl Scruggs and Bill Keith, Allen Shelton was one of my major influences and inspirations when I was learning to play bluegrass banjo. Posted by corcoran, updated: - 5 Member Comments I tried to notate this in the tab so it would be clear to the reader. Likewise, he almost exclusively uses the right hand pattern of "I T I." when starting a phrase before the bar line, with an odd number of notes. Bela almost exclusively adhere's to the right hand pattern of "T I T I." (Thumb, Index, Thumb, Index) when starting on the beat, or when starting a phrase before the bar line, with an even number of notes. Make sure the MIDI "Swing" setting is set to "1" to make the audio sound correct. The patterns will stand out more clearly. NOTE: The file is designed to be viewed at 4 bars per line, so you should expand the Tabledit window to achieve this. This tab is for the 2nd of the two performances. Then, he goes on to play 2 more improvised performances, telling the viewer to "just listen and take what you can" from these fancier licks that he would use if he were to actually perform the tune. Notes: In Bela Fleck's Homespun video, he provides a tab for only the basic melody for Sammy's Blues. Style: Bluegrass (Scruggs) Tuning: Standard Open G (gDGBD) Difficulty: Expert When I heard this in 1963 or 1964, I realized that Bill Keith had opened new horizons on the banjo.īela Fleck: Sammy's Blues, Improvisation #2 Compare Keith’s version to Scruggs’s in the tab, and you will get my drift. Keith took one of Scruggs’s standard licks, employing a forward-backward roll with a pull-off on the third string, and threw in a subtle twist by pulling off to the fifth string and pivoting to the open third. Here is one simple example that says it all, the first few measures of the first break in the song “Livin’ on the Mountain,” from Keith and Rooney’s album of the same name. Notes: In addition to creating melodic style, IMHO in parallel to and independently of Carroll Best and Bobby Thompson, Bill Keith introduced to basic Scruggs style layers of elegance, complexity, and subtlety that had not been heard before he appeared on the stage. Posted by corcoran, updated: - 3 Member Comments
Genre: Bluegrass Style: Bluegrass (Scruggs) Key: G Tuning: Standard Open G (gDGBD) Difficulty: Intermediate
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