I am starting to learn 2 finger picking. I am now working on thumb lead. I have the practice routines and now would like to start on some tunes. Going to the Tabs and Lessons I find lots of 2 finger tabs but most are in TABLDIT. I don't know what that is and I am a bit leery of downloading a program that I am unfamiliar with. What can you tell me about this program? Is it safe and are the Tabs good?
Thanks,
George
I’ve chosen Kentuckian John Salyer’s Stumptailed Dolly for this installment of TOTW.
Here’s the excerpt from the Traditional Tune Archive:
“DOLLY. AKA and see “Stumptown Dolly,” “Stumptailed Dolly.” Old-Time, Breakdown. USA; Magoffin County, Ky. G Major. Standard tuning. AA'BB. A regional eastern Kentucky tune. Jeff Titon (2001) says John Salyer (1882-1952) recorded a similar version of this local tune as “Stumptailed Dolly.” John lived not far from Titon/Phillip’s source, William Hamilton Stepp (1875-1947), and the two played together frequently, sharing some of their respective repertoires. Stepp was recorded for the Library of Congress by the Lomax’s in October, 1937, and his version can be heard on AFS 568. The original title of “Dolly” may or may not have been “Stumptailed Dog,” named so by Salyer’s father Morgan, who had a bob-tailed dog named Dolly (according to Magoffin County fiddler Glen Fannin (1901-1978), who played a version for Bruce Greene). Other Kentucky fiddlers simply knew the tune as “Dolly.” Bath County Fiddler George Hawkins (1904-1991) also had a version of “Dolly,” according to John Harrod. Stump Tailed Dolly has another meaning—it is the slang name for the poss stick, or paddle, and dolly tub employed when washing clothes the old-fashioned way. “
The laundry reference intrigued me a bit as my grandmother used to wash my grandpa’s coal mining cloths in large iron kettles over a wood fire. She also made lye soap in the same pots. The stick used in the laundry operation was called a “beater”. It was mallet shaped with a large head and long thin handle made from a single piece of hickory and was operated in an up and down motion. It was also used to transfer hot laundry between the wash and rinse pots. The stick used to stir and mix the soap was called a “paddle”. It was made from the trunk of a sassafras tree with the fat basal end flattened on both sides and the bark left on the rounded upper portion for a handle. The paddle was operated in a side to side motion. Both of these tools were home crafted by my grandfather from wood harvested on the farm. I don’t recall hearing the term “dolly” but other families or communities could certainly have used that name.
For those interested in such things here is a web site on the History of washing clothes. Search through the links labeled dollies, bats, and ponches for information regarding those tools.
A Web site dedicated to Scottish music has this to say:
“Songs once accompanied every kind of work in Scottish communities. There were songs for waulking tweed, for spinning wool, for rowing, milking, churning, bringing home the cattle and many other tasks. All these songs were designed to help pass the time and make the work involved a little less hard. With many of these songs, the work involved was very repetitive, and so these songs have a strong rhythmic pulse.”
That last sentence aptly describes Stumptailed Dolly. Even simple renditions of the melody sound good so long as the performer properly emphasizes the cadence of the tune. An inspired fiddler might well have composed the tune to mimic the rhythms of wash day. The coarse part is especially effective in portraying a single-minded determination to the job at hand while the fine part serves as a fun reward for dogged perseverance.
So was the tune named for a family pet or for a household utensil? Old-time authority Kerry Blech says it could be both in this 2002 FIDDLE-L post wherein he offers an opinion on the derivation of the title:
“I asked Bruce Molsky where he heard about this being a term for an old-time washing implement. He told me that he learned about it from Roc Myers, whom I think is one of us Fiddle-Listers... Bruce forwarded an email to me from Roc where Roc recalls his grandmother, Kentucky bred, telling him that the 'dolly' was a paddle used in the old clothes washing process and a shorter version of that implement was known as a 'stump-tailed dolly.' Personally, I do not find this inconsistent with Jeff Titon's relation that John Salyer had a dog with a stump-tail and added the "stump" part to the "Dolly" tune title to personalize it. Quite often some of these titlings have many facets, puns of sorts. If this washing terminology was common in Magoffin County, I'd bet that Mr. Salyer was aware of it and considered it when retitling the tune.”
The Eastern Kentucky provenance of the tune is brought into question by a memoir published in 1911 by Confederate General Basil W. Duke. He recalls having heard a tune called Stump-tailed Dolly played by southern army fifers at Clarksville, Tennessee, in 1861. Clarksville is in the western section of the State, 250 miles from the supposed Magoffin County, Kentucky origins of the tune. Of course this could have been a completely different tune with a floating title, a not uncommon happenstance in old-time music, but it shows that the title at least pre-dates Salyer. You can read it here: Reminiscences of General Basil W. Duke.
Additional confusion comes from Fannin’s assertion that the tune was originally called Stumptailed Dog which is the title of a tune collected from Modesto, Illinois fiddler Howard Sims (1896-1977). J-Walk featured the Illinois tune in his 09/27/2013 TOTW presentation and concluded that “There might be some connection with a tune called "Stump Tailed Dolly" but I can't hear much of a resemblance.” Blech concurs and states that Sims’ tune “though also in the key of G, does not appear to be related melodically” to Stumptailed Dolly. I think most, upon hearing the tunes played together, would agree.
Click on these links for the original field recordings of fiddlers Salyer , Stepp , Fannin , and Hawkins . Recent recordings by Jesse Wells and Steve Blake are also available. The Blake selection can be used as a background play-along while learning the tune.
Here are a couple of nice string band versions: Byron, Jones, Jackson, and Pedi and Highball Whistle .
Banjo takes on the tune include recordings by Clawhammer Tune of the Day, Adam Hurt, and a video by Cindy Louhoo that serves as a good tutorial for learning the tune.
I was unable to find a tab for Stumptailed Dolly but Titon gives a score in standard notation for Stepp’s version, which seems to be the basis of most modern recordings, in his book Old-Time Kentucky Fiddle Tunes.
Viewers are encouraged to post observations, opinions, performances and tabs contributing to this thread.
I've been trying to figure out this song for a while now with no luck. I also can't find it online ANYWHERE. Does anyone have any suggestions? Where i could find the chords? Or if one of yall wants to try to help me figure it out that would be amazing!
The past few months I just haven't been liking the sound of my playing. I feel like I can't get a good enough hammer on the strings to get the sound I want. So... I want to know if any other clawhammer players out there have experimented with clawhammer picks and I want to know your thoughts on them. I've already tried using my Scrugg picks upside down, and it's not bad, but it's poorly designed to work with clawhammer. Currently I've been looking at some picks here; http://www.eaglemusicshop.com
I'm trying to add some embellishments to Sandy River Belle now that I've settled on how I like to play it and I've been watching Reed Martin play it on YouTube. I am wondering if anyone can help me with what he does right around the 45 second mark where he plays something like "doo-doot strum". I think it's an Em chord but I'm not 100% sure and I'm not sure exactly what he's doing in front of it note and timing-wise. It seems it might be more than just note-note-strum and I can't quite figure it out. Any help on any other flourishes or embellishments he does are also welcome.
Video link below:
https://www.youtube.com/watch?v=wFUSuTkk5C4
Thanks all, I'll probably be posting tab for my version of Sandy River Belle soon.
I spend most of my time on BHO as a "lurker," with only occasional bursts of posting. But, I am always impressed with the knowledge and the passion of the folks who do post regularly. For those new to the tribe, welcome. And to folks like the Old Woodchuck, Bill Rogers, John Balch, Dan Levinson and so many other regulars, you give a lot... kudos to you.
Back to lurking!
Joe
On the weekend of Nov. 15, there will be workshops at the Chestnut Creek School in Galax, VA on fiddle (Alice Gerrard), fingerpicked banjo (Gail Gillespie) and upright bass (Joe DeJarnette) as part of the Music of the Crooked Road Series.
- Old-time Finger-picking Banjo with Gail Gillespie
Saturday, November 15, 9 am-4 pm, and Sunday, November 16, 10 am-3 pm
Concert Saturday, November 15, 7-9 pm
Tuition: $140
Level: Intermediate
Gail Gillespie is one of the leading experts of old-time fingerpicking banjo. She plays several regional styles including North Carolina’s old-time 2 & 3 finger up-picking banjo traditions. In this workshop, Gail will introduce styles used in the mountains and piedmont areas of Virginia and North Carolina. Participants will learn about both solo and “seconding” styles that allow playing with a band as well as other banjo players.
Gail was editor of “The Old Time Herald” magazine for many years and is an outstanding old time musician and historian. She has played in numerous bands, including the Herald Angels with Alice Gerrard and Kay Justice.
Click here to view a video of Alice, Gail and Kay playing a Roscoe Parrish tune
Register by November 1 for a 10% tuition discount.
Contact: Marianne Kovatch, Chestnut Creek School of the Arts, Galax VA. (276) 236-3500; marianne@chestnutcreekarts.org www.chestnutcreekarts.org
Hi, the Buckmaster banjos build in Australia look awesome, but does anyone have any experience with them? Specifically, are they appropriate for clawhammer?
thanks,
jim
Key of D – aDADE
In this, Tunetorial number 16, by request, Dan "Clawdan" Levenson teaches Mississippi Sawyer. The tune is another one of the solid core of the old time fiddle and banjo repertoire. When you play in D you almost ALWAYS play this one at the jams. There are many variations on this one but it is one that is a must have in your banjo tune bag o' tricks.
In this tunetorial, Dan will play the tune at a moderate speed adding to it as he goes. He breaks down sections as we go. This one can be very basic or quite ornamental depending on how YOU want it to go. Remember though, when playing “nice” with others, there comes a point when your personal variations can make it not work with other versions. Odd chords and rhythmic textures can really throw off the jam. No matter, we even look at some of those! Dan deals with it all here in a progressive manner. Feel free to post any questions you have on it, remark on sections you would like clarified or things you might like added. Yes even the things you don’t like are fair game. It grows the tune and the community when you know what you like and don’t like as you build your own style.
This tune is tabbed out in Dan's book (tune 16 in) Old Time Favorites for Clawhammer Banjo (MB 30224). This one also appears in 3 versions (basic double thumb, drop thumb and “kitchen sink” jam versions) in Clawhammer Banjo From Scratch (MB 20190) for those of you wanting a real nuts and bolts break down of this one.
You can purchase the video lesson (for unlimited streaming and download) here on the Banjo Hangout for $6.
Dan and I would love to hear any feedback you have on these videos, so feel free to post or email us. Our goal here is provide a steady, affordable way for people to learn a new clawhammer tune weekly (or as often as they'd like).
It would be great to hear some of your versions so far so post them here for all to hear!
Wondering if anyone had any insight into the tunings Sam Amidon uses on “As I Roved Out” and “Wildwood Flower.” The first is sawmill-like (modal), but with the drone on the fifth. The second is just super low. I’m guessing he could have just tuned down that far, but my banjo certainly doesn’t sound as good as his when I try it. What's the secret?
As I Roved Out:
https://www.youtube.com/watch?v=KCHcH2xCBlE
Wildwood Flower
https://soundcloud.com/ato_records/sam-amidon-wildwood-flower
Thanks a bunch,
Robert
Hello All,
I have always wanted to learn Pete Seeger's version of Little Birdie (shown here: www.youtube.com/watch?v=8iBlp-3fqmU) but I can't figure out even what strum method he is using. Is anyone aware of any tabbed version of this song. As mentioned in this thread (http://www.banjohangout.org/archive/128867) it may be available in Sing Out! magazine from 1961 but I have been unable to locate this issue anywhere. Some help would be most appreciated.
Thanks!
Chestnut Creek School of the Arts, 100 N Main Street in Galax, Virginia, will be holding a weekend old-fingerpicking banjo workshop with Gail Gillespie on Saturday and Sunday, November 15 and 16. This 2 day workshop is part of a Crooked Road Weekend including workshops and a concert with Alice Gerrard (fiddle), Gail Gillespie (banjo)and Joe Dejarnette (bass).
Details:
Music of the Crooked Road - Old-time Finger-picking Banjo with Gail Gillespie
Saturday, November 15, 9 am-4 pm, and Sunday, November 16, 10 am-3 pm
Concert Saturday, November 15, 7-9 pm
Tuition: $140 (Register by November 1 for a 10% tuition discount)
Level: Intermediate
Gail Gillespie is one of the leading experts of old-time fingerpicking banjo. She plays several regional styles including North Carolina’s old-time 2 & 3 finger up-picking banjo traditions. In this workshop, Gail will introduce styles used in the mountains and piedmont areas of Virginia and North Carolina. Participants will learn about both solo and “seconding” styles that allow playing with a band as well as other banjo players.
Gail was editor of “The Old Time Herald” magazine for many years and is an outstanding old time musician and historian. She has played in numerous bands, including the Herald Angels with Alice Gerrard and Kay Justice.
Click here to view a video of Alice, Gail and Kay playing a Roscoe Parrish tune
To register online, go to http://www.chestnutcreekarts.org/register/?regevent_action=register&event_id=854 or call Chestnut Creek School of the Arts at 276-236-3500 to register over the phone. For more information about the fiddle or bass class, go to www.chestnutcreekarts.org/register.
I am a beginning clawhammer player. I have been playing clawhammer for about a year and using Ken Perlman's book and DVD as a guide. As I get better and better, I am starting to notice the tone out of my deering goodtime openback is not what I would like. To me it is a bit on the raspy side and I would like more of a warmer, mellow tone out of it. I have tried the washrag behind the head routine, but it is a bit too much "warmth". I was thinking about changing the original deering head for either a Fiberskyn or Renaissaince head. Anybody have any opinions on using these two heads with the goodtime or having any other ideas? any help would be much appreciated! -Keith
I have been using my index, middle, and pinky to form a D cord. Should I use my ring finger instead of the pinky? If so why?
For your consideration this week we have the tune "Boatin Up Sandy". There are at least two distinct tunes by this name, the one I'm submitting is most commonly associated with Owen "Snake" Chapman, as we'll see below. This one has everything I could want in a TOTW tune... it's catchy, it can present a few technical challenges for the clawhammerist, and has an interesting history which hopefully can provoke some discussion. Let's work backwards like archaeologists...
The tune as it shows up in jams and festivals is in A. Most folks seem to be playing it out of A modal tuning (aEADE). Here are some examples of the jam version:
https://www.youtube.com/watch?v=u666NUktlPE
https://www.youtube.com/watch?v=IclrPDHISTE
I have included a tab here marked as the "jam" version that follows the versions I've heard played at jams and festivals, and is a relatively stripped down banjo arrangement.
The tune is typically cited as coming from the fiddling of Owen "Snake" Chapman. Here are some sources for his take on it, and others that are clearly aiming to capture Mr. Chapman's version:
http://dla.acaweb.org/cdm/singleitem/collection/berea/id/275/rec/5 This is a field recording of Snake Chapman playing the tune, recorded by Bruce Greene in 1989.
http://www.amazon.com/Boating-Up-Sandy/dp/B0010TTHDG# A more polished version by Snake Chapman can be found on his CD "Walnut Gap", a sample of which can be heard here.
https://www.youtube.com/watch?v=5RazjK9yoE4 David Bragger has a wonderful video teaching Chapman's version on the fiddle, and he does a great job of capturing some of the nuances.
I separated the Snake Chapman versions from the "jam" version for two reasons. 1) I think one of the most striking parts of the Chapman version is the really funky syncopated phrase he plays in the B part. At festivals and jams it seems to my ears like people tend to play it more straight than that, and I wanted to highlight that here. 2) I'm including a tab and video that are of a more nuanced/slightly melodic banjo arrangement (as opposed to the more stripped down "jam" version). I've labeled these both as being the "Chapman" version. For both the tab and video I'm trying to capture a bit more of what the fiddle is doing with my banjo, and also trying to preserve some of that funky B part.
The funky bits in the B part can pose a bit of a challenge for clawhammering. In my tab I wrote out two suggested means for getting that phrase going, one that involves fretting the 5th string (gasp!) and one that requires a strong hammer on and pull off stretching from the 3rd to 7th fret. Both are tough! I'm not sure I ever nailed either approach in my video attempt. I also included an alternative phrase for the triplets Chapman uses, as sometimes it sounds like he is playing the 3rd and 4th, other times like he is using a minor and major 3rd for a bluesier sound.
Snake Chapman cited Thaddeus Baker, Kenny Baker's father, as being his source for the tune. Here is a YouTube video with what is apparently a home recording of Thaddeus Baker playing the tune, as captured by his son:
https://www.youtube.com/watch?v=kmPKq6W4pWs
While clearly the same tune, the B parts are very significantly different. Baker's B part is half the length of the Chapman and jam versions, and very straight. I've included a tab of this version, identified as the Baker version, and recorded a quick video attempt at the version too. The video isn't perfect, at least in following Baker's playing or the tab I made, as my fingers kept drifting back to the other versions of the tune.
This single tune kind of highlights the folk process in overdrive. Snake Chapman learns the tune from Thaddeus Baker, but apparently added his own flourishes to the B part [whether deliberately or not]. Chapman's version ends up more complex and at least syncopated if not downright screwy. The tune gains popularity as the longer Chapman version, but some of the funky gets flattened out in the process.
There are no shortage of other recordings of this tune on YouTube, cds, and the web generally. I didn't want to make this an overwhelming first post, so please feel free to mention other versions you know of and enjoy. And of course I hope some of you see fit to post your own!
-Mark
Hi All,
As most of you know, we do a weekly email newsletter from the BHO that highlights site news, gives folks a free lesson or two, and includes a word from our sponsors (see the newsletter archive). We turned this into a weekly newsletter a year ago, and I've really enjoyed being able to send out more good banjo stuff to people. Had a lot of positive feedback, too!
We're at the place now where we could use a few more monthly article contributors--so I'm putting the word out to see who is interested. Ideally I'd like some folks to commit to at least 6 months of monthly articles, but I'm also open to running just a short series, or even just one article. We can even do it on a different schedule than monthly (we've done some bi-weekly ones, for instance). Articles can be lessons, interviews, stories from the road--if it's banjo-related, it'll probably work.
If you're interested, reply below and let me know what you'd like to do. You can also email me at eric@banjohangout.org.
Thanks!
I'm trying to pick out Tommy Jarrell's "Uncle Ned" as performed on his Vol. 3 Banjo Solos album, but I can't figure out the tuning. I've tried aEAC#E, aDADE, and even aDAC#E but none of them seem to make any sense so far.
Thanks for any help.
-scott
Mark Johnson in "Boating Up the Sandy" thread says, "I have included a tab here marked as the "jam" version that follows the versions I've heard played at jams and festivals, and is a relatively stripped down banjo arrangement."
I've been thinking a bit how the banjo sounds best in a jam situation. I know "best" is relative to different ears and different situations. Different situations would include how many banjos and fiddles are playing, what tune is being played, the playing skills of the players, how fast the tune is flying, etc. I lean toward simpler banjo in a more than a 3-4 person jam. To me too many banjo notes get lost in the wall of sound emanating from a jam, but that might just be my ears. I have heard other banjo players try too hard to match the fiddler note for note, more or less to my ears, and I think the strong point of a banjo in a jam situation suffers - the rhythm. I feel good about my playing if I can just match the rhythm, not step on the fiddlers musical toes, and contribute to the overall sound. If I can't keep up with the speed of the tune or am unfamiliar with it, I pull way back on the banjo, even quitting playing. It seems like my "flexible/adaptable" musical skills are always just out of my reach too much of the time, especially picking up an unfamiliar tune on the fly.
What are your thoughts/clues about playing the banjo in a jam? Banjered
