5-STRING BANJO STYLES FOR 6-STRING GUITAR. Dobbins. CD TABLATURE
Product Description:
This book/CD set presents six complete songs and 19 licks and patterns (in both standard and open G tuning) in the styles of banjoists Earl Scruggs and Allen Shelton, and guitarists Chet Atkins and Jerry Reed. (Also included is the 3-finger roll tour de force ‘Strike It Rich’ by 2001 Winfield Fingerstyle Guitar Champion Richard Smith.) Written in standard notation and tablature, with fingerings, chord diagrams, and performance notes; a discography is included for further listening. The companion CD includes performances of all the songs, and the licks and patterns are demonstrated both slowly and up to tempo. For intermediate to advanced level guitarists.
Product Number: 20622BCD
Format: Book/CD Set
ISBN: 0786670088
UPC: 796279092401
ISBN13: 9780786670086
I got the idea for this arrangement of "Weeping Willow" (also known as "Bury Me Beneath the Willow") from the banjo playing of Allen Shelton. Allen was with the legendary bluegrass band Jim and Jesse and the Virginia Boys for many years. Allen's recording of Weeping Willow is on his LP Five String Dobra and Banjo
Performance notes ... I begin the arrangement in classic Shelton-style, using aforward roll (p-i-m) pattern.
At measure 18 I change to claw hammer picking. I play the melody notes with my thumb and index finger, and the strums with the back of my middle fingernail.
At measure 34, I take a verse "up the neck," as bluegrass banjo players say, using block chords.
At measure 50, it's back to Shelton-style. I stole the ending lick from another one of my favorite banjo players, Buck Trent. Don't forget to tune your guitar to open G (D G D G B D, 6th-1st strings).
About the recording ... I used a Takamine classical, equipped with an L.R. Baggs pickup.
Discography
For inspiration, check out these banjo players ...
Earl Scruggs
A true legend, his very name is synonymous with bluegrass banjo. Check out his classic 1950's tracks with Flatt & Scruggs on the albums Foggy Mountain Banjo and Foggy Mountain Jamboree (Columbia Records).
Earl's playing can also be heard on the landmark Will the Circle Be Unbroken CDs by the Dirt Band (with special guests).
Allen Shelton
Allen was with the legendary bluegrass band Jim and Jesse and the Virginia Boys for many years.
His pIay-ing can be heard on many recordings by Jim and Jesse, and on his own LP Five String Dobro and Banjo
(Atteiram Records).
Buck Trent
Buck was featured as banjoist and lead guitarist with Porter Wagoner, and recorded with Porter and Dolly Parton, among others. His "underground classic" LP Sounds of Now and Beyond (RCA Records) featured acoustic banjo, electric banjo, and electric nylon string banjo. For a list of Buck's current CDs and cassettes log on to . . . and guitar players, too!
Chet Atkins
Another legend whose very name is synonymous with his instrument. Just a few classic Atkins tracks featuring rolls are "Cascade" (from Me and My Guitar), "Rocky Top" (from Yestergroovin'), "Hellacious" (from Pickin'My Way), "Dizzy Fingers" (45 rpm single), and "Cosmic Square Dance" (from Stay Tuned).
Jerry Reed
Jerry adapted the three finger roll to create a new style all his own. His classic RCA albums Jerry Reed Explores Guitar Country and Georgia Sunshine are must-haves, as well as his duet albums with Chet Atkins
(Me and Jerry/Me and Chet.)
Carl Jackson
Carl played banjo with Jim and Jesse, banjo and guitar with Glen Campbell, and is also a respected compositer, vocalist, and producer. For a taste of his three finger roll style on guitar, check out "Hap Towne Breakdowne", from Steve Wariner's CD No More Mister Nice Guy (Arista Records).
About the music ...
This Richard Smith original is the title cut from the 1998 album by the Richard Smith Guitar Trio. With strong support from brothers Rob (on guitar) and Sam (on bass), Richard navigates the neck from stem to stem with melodic banjo rolls, pull offs, and even a little bit of b1uegrassy flatpicking.
Performance notes ... Richard plays three finger rolls with his thumb (p), index (i), and middle (m) fingers, varying the pattern to fit the melody. There's at least one spot (measure 7) where he uses afour finger roll (p-i-m-a). The lick can be played with a three finger roll however, by dragging your thumb across the 4th and 3rd strings. I have transcribed the first verse (beginning at measure 9) exactly as it is on the recording. Each repeat contains a few variations, which I have not included due to space limitations. At the first bridge (measure 44), Richard plays double stops (two note harmonies) above sustained bass notes. There's some great Jerry Reed style pull off licks in measures 46 and 54. At the second bridge (measure 60), Richard "flatpicks" Doc Watson style with his thumbpick. (For this hybrid picking technique, Richard favors a thin thumbpick, filed very short.) Play the scales in measures 78-80 and 85-86 with an alternating thumb and index finger. Check the fingering for the proper pattern (p-i or i-p).
About the recording ...
Says Richard: "I actually used a guitar that my Dad bought in Spain in the early 70's. A souvenir guitar from a touri t shop. You know, real cheap, about 20 dollars! I think the label inside says something like Viancee Tatay Thomas. It plays great though, and the sound is pretty good. Nice treble. It's also slightly smaller than a regular classical, so it's comfortable to sit around and play in the living room."
Acknowledgements
Introduction
Weeping Willow
Lonesome Road Blues
Old Joe Clark
Lily of the Valley
Hang Loose
Strike it Rich
Licks and Patterns
19 Exercises
Discography
About the Author
Italiano
English
