Ron Hinkle
1903-The Oldest Fretted Instrument Magazine In The WorldBANJOMANDOLINNo. 868Winter 2012-2012GUITAR 5.00Ron HinkleMusic in this issuePlectrum Banjo: Two Yuletide Tunes (arr. Vince Miller); Mandolin: Peaceful Isle (Phil Barnes);Banjo: Narcissus (arr. Emile Grimshaw); Guitar: Mary’s Boy Child (arr. Max Brittain)All Music in Notation and TablatureA CLIFFORD ESSEX PUBLICATION - THE QUALITY MAGAZINE FOR MUSICIANS
TWO EARLY MINSTREL MUSIC BOOKSBook One ContentsBook Two ContentsBACKSIDE ALBANYBOLTON CLOG HORNPIPEBONJADAN EMMETT’S REELJIM CROWHAYE’S CLOG HORNPIPELONG TAIL BLUEJIM LEE’S JIGTHE OTHER SIDE OF JORDANSPALDING’S JIGLUCY NEALNIAGARA POLKATHE COAL BLACK ROSEROARING JELLY JIGTURKEY IN THE STRAWZIP COONSUN GO DOWN, UP COME DE MOONTHE EARLY BIRDLUCY LONGTHE A1 SAND DANCEAMY ROSY LEEDANDY JIMAWAY TO THE SUGAR CANE FIELDGENERAL POPE’S JIGBELLE OF ALABAMATHE BOATMAN’S DANCEBESSIE’S GRAVETHE JUBILEEELLEN BAYNELON MORRIS’S JIGHURRAH FOR MY HANSOM CARPEA NUT GIRLMARY GRAYTONAWANDA HORNPIPEMINNIE MOOREPEARL WALTZNELLY WAS A LADYTHE GAL WITH THE ROGUISH EYESAVORY’S JIGROSA LEEEarly Minstrel Music BooksOne and Two 10.00 each, plus postage UK: 1.50Elsewhere: 3.00Clifford Essex Tel: 01485 529323www.cliffordessex.netBuy both books and postage is free.Offer only available to BMG subscribersuntil the next issue of BMG is published.Subscribers outside the UK postage is 1.00For a PayPal invoice email:cliffordessex@msn.com
991903CONTENTSThe Peabody InstrumentsAnthony LisJazz Guitar - Minor ChordScales : 2 Phil JonesHarmonics on Steel GuitarMaurice HipkissEddie Lang Technique : 8The Return of the BanjolineSean MoysesGrimshaw Plectrum BanjoTechnique : 4 Ron HinkleFrom a Bath ChairRichard InesonWrockin’ with the WrinklyWriffersThe John Bright ColumnHumourCover Picture : Ron HinkleMusic Supplement :Two Yuletide Tunes : (Plec.Banjo): arr. Vince MillerPeaceful Isle : (Mandolin):Phil BarnesNarcissus : [Nevin] (Banjo)arr. Emile GrimshawMary’s Boy Child : (Guitar):arr. Max BrittainMax Brittain - Jazz GuitaristPhil JonesPlectrum Guitar Endings : 3Don RobertsTenor Banjo Breaks : 3Bluegrass MandolinJohn BaldryBMG Tape Club (HawaiianGuitar Section): John MarsdenThe Banjo Story : 3A.P. SharpeThe Clifford Essex WeaverDavid WadeFingerstyle Ukulele : 4Ray WoodsMaking your own Guitar : 6Roger DalbyBluegrass Banjo : 8David CottonBob Shank - AppalachianThe Eddie Peabody Project : 4Georgette TwainFun with the Bass!I tried not to be RudeRichard CrabtreeRemembering Bert BassettCorrespondenceMusical Terms / By the WayWinners at the MBF /For SaleHands Across the Sea201298100101102103104106B MGPUBLISHED IN MARCH, JUNE, SEPTEMBER and DECEMBERBY CLIFFORD ESSEX MUSIC CO., LTD.7 ROSE WALK, WICKEN GREEN, FAKENHAM,NORFOLK, NR21 7QGTel - 01485 529323 Email - ED BY CLEM VICKERYThe Editor does not necessarily agree with the opinions expressed by his contributors.All items offered for inclusion in the next issue must arrive at the address above by 1st February.All articles and music in BMG are the copyright of the authors unless otherwise stated, and no materialmay be copied in any form, or for any purpose without prior permission from the owner.Application for permission must be made in the first instance to the Editor of BMGNo. 868Winter 2012Early Minstrel Music Book 1A Review by Mike MossOf all musical instruments, none has been as deeply and intimatelyassociated with a single genre as the banjo and minstrel music. Aninstrument designed to imitate those of the African slaves, the banjo becamea part of the minstrel show in the 1830s and remained as such, in all stylesranging from stroke style to plectrum, for well over a century: the BBC’sBlack and White Minstrel Show, for instance, was aired on television until1978, and endured as a stage show until 1987. Nowadays, due to itsoffensive nature and the evolution of society, the minstrel show is often seenas an embarrassment and is rarely mentioned; and yet, some of the mostenduring melodies in the history of popular culture – such as Swanee Riveror Camptown Races – were born from the minstrel phenomenon.There are plenty of books published which explore the early styles ofminstrel banjo – that is, how the minstrels historically played the banjo – butthis book is not one of them. As its title indicates, the goal of this book is toexplore minstrel music, whether or not it was written for the banjo; as such,this selection includes arrangements of songs or pieces originally written forthe piano-forte, specifically arranged for the modern fingerstyle five-stringbanjo. The selection presents a general overview of the music in the genre,ranging from an arrangement of Bonja, originally a song with piano-forteaccompaniment, and one of the first songs about the banjo and AfricanAmericans, to a broad selection of songs and dances such as the ever-famousTurkey in the Straw, whose now-stereotypical use in cartoons wasconsecrated by its premiere in the 1928 Mickey Mouse cartoon, ‘SteamboatWillie’.The usefulness of this book as a cultural artefact is immediately apparent:for instance, many scholarly publications point out that, in spite of theirclaims that they were playing authentic African tunes, the minstrels’ musicwas primarily influenced by English, Scottish and Irish music; however,actually playing the tunes allows the reader to experience this fact first hand.Thus, playing the tunes in this book can be seen as an active way of studyingmusical and cultural history.
B.M.G.100Winter 2012ANTHONY LIS ON PEABODYOn September 21st,the National MusicMuseum and Centerfor the Study of theHistory of MusicalInstruments in Vermillion, SouthDakota unveiled an exhibitincluding six instruments ownedby banjo virtuoso EddiePeabody. (Located on thecampus of the University ofSouth Dakota, the NationalMusic Museum holds animpressive array of over 15,000American, European, and nonWestern instruments, including amandolin built by AntonioStradivari [1680], a Stradivariguitar [1700], and a custom-builtB. B. King ‘Lucille’-modelGibson electric guitar [1997].)The instruments in the NMMexhibit are part of an eightinstrument collection donated tothe museum in May byPeabody’s second son, GeorgeRo ber t P eabo d y. T heassemblage, previously housedin the New Orleans JazzMuseum—includesamandocello, two acoust icbanjo lines, t hree elect ricbanjolines, and two plectrumbanjos.George Peabody—explainingthe purpose of his gift in a Mayarticle in the Argus Leadernewspaper (in nearby SiouxFalls, SD) related that:“I want to let others see myfather’s instruments, enjoy them,and perhaps listen to some of themusic that came from them.”NMM visitors, via a self-guidedmultimedia tour, will be able tohear audio examples of EddiePeabody’s instruments, alongwith historical information.Eddie Peabody’s mandocello(the one such-instrument heowned) was assembled by theVega company in Boston around1920. (A mandolin tuned like a‘cello, the instrument providedthe baritone voice in turn-of-thelast-century mando linorchestras). Peabody used hismando cello in vaudevilleperformances of the 1920’s andin the March 1928 Vitaphoneshort ‘Banjoland’ (in which heperformed five selections withhis then-prot†g†, Jimmy Maisel);Peabody also played theinst r ument in t he 1937P a r a m o u n t s ho r t ‘ H u l aHeaven’ (offering a circa threeand-a-half minute, tremolo-ladenrendition of ‘Aloha Oe’ roughlytwo-thirds of the way throughthe film).MandocelloEddie Peabody’s two acousticbanjolines were assembled byVega sometime around 1930.Peabody’s contribut ion tobanjoline-evolution involvedplacing a violin mute on thebridge to produce a softer sound.The banjoline on the right—witha sunburst finish—was featuredin Peabody’s 1943 film ‘StrumFun’, during a segment in whichhe serenades a young womanwith a tremolo-filled rendition ofEliseo Grenet’s sentimental tune‘Marquita’.BanjolineIn a 10th May interview withSouth Dakota Public Radio,George Peabody related that BillNelson, then-president of Vega,produced the first electricbanjoline for his father (at hisfather’s urging) in the late1950’s. Peabody noted that theinstrument was “very, verypopular” in his father’s stageperformances, particularly whenhe played Hawaiian numbers.Eddie Peabody featured theelectric banjoline on two early1960’s Dot LP’s, Eddie PeabodyPlays Smo-o-o-thies [1963] andthe Hawaiian-tinged follow-up,Eddie Peabody Plays More Smoo-o-thies [1964], where half ofthe tracks were Island-themed,including ‘Blue Hawaii’ and‘Beyond the Reef’.Peabody’s electric banjolinesinclude a Vega prototype madein Boston in late-winter 1957, aFender prototype assembled inFullerton, California in early1965, and a model produced bythe Rickenbacker company inS a nt a Ana , C a lifo r n ia i nDecember 1968. Geo rgePeabody related in his SDPRinterview that Bill Nelson gaveh is fa t h e r V eg a ’ s e le c t r icbanjo line pat ent in t he lat e1950’s or early 1960’s; LeoFender, founder of the Fender
Winter 2012ElectricInstrumentMa n u fact u r ing Co mp a ny,expressed interest inmanufacturing the instrument,but a long-term bout with astreptococcal infection forcedFender to sell his company toC.B.S. The patent was releasedand subsequently picked up byRickenbacker, where companyhead Francis C. Hall at lasteffected mass-production of theinstrument (with the finishedproduct looking quite similar toa hollow-body electric guitar).Peabody’s plectrum banjos(Vegavox IV and V models)were manufactured by Vegaabout 1958 and 1969. In hisSDPR int er v iew, Geo rgePeabody recalled his fatherpersonally assembling theVegavox IV for him; the back ofthe resonator (likely assembledin the 1930s) features a handcarved version of the Peabodyfamily crest. Eddie Peabodyutilized the Vegavox V in theNBC-TV special ‘JohnnyCarson Presents the Sun CityScandals’. (The music-andcomedy feature, — includingtwo-dozen entertainers over agesixty-five, — was filmed insuburban Los Angeles insummer 1970, with Peabodyplaying his Vegavox V in a jazzsextet led by a drum-playingCarson. Ironically, the programaired exactly one month to theday after Peabody’s November1970 death from a stroke).C o n c er n i n g t he N M M ’ sacquisition of the Rickenbackerelectric banjo line, Fenderelectric banjoline prototype, andVega plectrum banjos, theNMM’s Curator of StringInstruments, Arian Sheets,remarked in the 18th Mayedition of the Vermillion (SD)Plain Tal k: “We d idn’tpreviously have a postwarRickenbacker electric . . . andB.M.G.Fender instrument. And Vega ofcourse is one of the betterma nu fact ur er s o f fr et t edinstruments throughout the 20thcentury, and also of very, veryfine examples of high-endplectrum banjos”.Vegavox VThe NMM constructed a largedisplay case to showcase EddiePeabody’s instruments, alongwith some related ephemera,also donated by George Peabody(including LP-covers and a Vegaresonator from circa 1928). Atthe opening-reception, George,prefacing a screening of ‘HulaHeaven’, thanked the NMM “forfinding a home for Dad’sinstruments”.The NMM bookstore is sellingGeorge Peabody’s Man With theBanjo (Wheatmark, 2011), afictionalized account of hisfather’s musical and militaryintelligence career in the 1930’s.In 1935, Eddie Peabody—via anarrangement with FranklinRoosevelt—was commissionedin the US Naval Reserve andcland est inely t rained forreconnaissance-work, which heundertook during his 1938101European tour. (Peabod ysnapped photos of Nazi antiaircraft fortifications and asecretly-constructed U-boatplying the River Elbe inHamburg. He had to be hurriedo ut o f G er ma n y a ft e rentertaining Adolf Hit ler,Hermann Goering, and HeinrichHimmler at a private party, whenthe Gestapo discovered his Navybackground and realized hemight be conducting espionage.)The National Music MuseumThanks to George Peabody forsupplying high-quality photos ofhis father’s instruments, to ArianSheets for providing detailedin fo r mat io n abo ut t heinstruments’ dates, modelnumbers, and place-of-assembly,and to Karl Gehrke for providinga recording of his 10 May SDPRinterview with Peabody.Helmut RheingansLuthierMaker ofOpen-back Banjos,Mountainbanjos,Bansitars.Top quality repair workundertaken.www.orbmusic.co.ukTel. 01433 631907
B.M.G.102Winter 2012Jazz Guitar - Minor Chord Scales - Part 2 by Phil JonesMoving on from where we left off last time, we are now building similar chord scale patternson different string groups. Beginning from the first position on the inner 4 strings ie: the 5th,4th, 3rd and 2nd this time we are using the scale for Bb Minor so that, again, we can run theunbroken scale up and down the fingerboard. Again we will build our chords on the melodic minor whichdiffers whether it is ascending or descending and conveniently includes the chords we need:Figure 1 – (Bb minor scale)As before, practice the sequence ‘as written’ to begin with then vary the style and the rhythm in as manyways as you can think of – bass note then chord – arpeggios – etc. and then, when you are happy with thescale pattern in the key of ‘Bb minor’, try transposing it to all the other keys. After that you can try and mixand match the new scale shapes with those from the previous issue.The following chord scale which uses the top 4 strings ie: the 4th, 3rd, 2nd and 1st could be consideredmore suited to melody chord playing than for comping but, as previously, it is included here for the sake ofcompletion.Figure 2 – (Eb minor scale)Practice this as per previous examples and then integrate this form with the others. Of course there aremany, many, chord shapes over and above those shown so far in this series of articles, but if you work thesein all keys they will help you to handle just about any chord sequence you are likely to encounter and bringyou a step closer to a total understanding of this two foot piece of wood we all struggle to master.JAZZ GUITAR STRINGS - CHROME TAPE FLATSMedium 13 - 56.Heavy 14 - 58.Light 12 - 54.Super Light 10 - 50‡8.95 a set ‡1.00 postagefor any amount.Clifford EssexTel: 01485 529323Email: cliffordessex@msn.comWhy not treat your playingfriends this Christmas? Buythem a 2013 subscription forBMG. We will send them thisissue absolutely free, with yourcompliments, and season’sg r e e t i n g s . A o ne ye a rsubscription to BMG in the UKis ‡20.00
B.M.G.Winter 2012103HARMONICS ON STEEL GUITAR by Maurice HipkissAs I have includedharmonics in someof my steel guitararrangements, I thought it maybe a good idea to do a shortarticle on the different types.I have found that many playersshy away from using themprobably because of the fact thatif you do miss one they are oftenvery exposed within yourplaying, and immediat elynoticed by your audience.However, they are a greatvehicle for your musicalexpressiveness.There are two types ofharmonics (sometimes calledchimes) Natural and Artificial.Natural harmonics are normallyplayed by lightly placing theedge of your left hand (bar hand)on certain frets, they sound bestat the 12th, 7th, 5th, 19th and24th frets. If you have a basictuning in C (e.g. C6 tuning) frets12th, 5th and 24th will give Cchords and fret 7th and 19th willgive you G chords. If you are inthe key of C and want to finishthe piece on a ‘PerfectCadence’ (5 to 1) this can bedone in harmonics quite easily.If you use the C tuning, an Echord can be achieved at the 4thfret and the 9th, a C chord canbe achieved at the 17th, and a Bflat chord at the 22nd fret,although these are much weaker.Artificial HarmonicsThe playing of ArtificialHarmonics requires much morecare in their execution. Thesecan be played on any fret and onany st ring. The simp lerharmonics you can produce arethe ones where you stop thestrings with the edge of yourright hand, resting lightly on thestrings twelve frets above the barposition, and pick the stringswith your thumb.Make sure your palm is parallelto the frets. You lift the righthand immediately after pickingso that the notes ring out clearly.If not, they will be damped.T hese are called ‘pal mharmonics’.The one problem that you mayget with the execution of theseharmonics is the fact that youcannot see the spot where youneed to touch the string orstrings with your palm becausethe rest of your hand is blockingyour view. As you are pickingwith your thumb, use the spotwhere your thumb picks thestring for a particular fret andremember this position. You willfind you will get more adept atthis as time goes on.With palm harmonics you canpick several strings resulting in achord of harmonics. Since thetheoretical aspects are the samefor both types of harmonics theright hand palm can produceartificial harmonics by stoppinga barred string or strings 5th, 7thand 19th frets above the bar aswell. Also with palm harmonicsit is possible to strike two stringstogether, harmonic one stringand leave the other as a naturalnote. e.g. strike E and G notestogether, harmonic the lowernote E but keep the G at itsnatural pitch. Now the E is anoctave higher. Instead of a 3rdinterval it now becomes a 6thinterval.There is another way ofobtaining Artificial Harmonicswhich takes the small amount ofguess work out of the equation.This is by using the tip of yourright hand ring finger againusing your thumb to pick thestrings.With this technique you can seeexactly where the tip of yourfinger touches the strings. Yourthumb is tucked in behind yourring finger about an inch or sofurther up the neck of the guitar.With this technique, stringselection and placement of thef in g er is ver y pr ec is e.Depending on the sound youwant, you can go betweennatural, palm and fingerharmonics to create differenteffects.By using all three techniques itis possible to play any note orconfiguration of notes anywhereon your guitar neck inharmonics.Artificial harmonics can also beachieved using the knuckle ofthe little finger on the right hand,but I prefer using the tip of myring finger as this is moreprecise.Do n’t be fr ight ened o fharmonics; relax and you willrealise they are easier to executethan you thought. Whateverstyle you play on your steelguitar, from classical music tojazz, use harmonics, — they willadd a new dimension to yourplaying.The ResonatorThe 4 String Banjo NewsletterofBANJOS UNLIMITEDPublished QuarterlyYearly RatesUSA - 13.00. Canada - 18.00Overseas - 25.00[ US Funds Only ]Payments via PayPal to:BANJOS UNLIMITEDmobilecpa@insight.rr.com Ask for a free copy theresonator@earthlink.netwww.theresonator.comThe ResonatorP.O. Box 101025, PittsburghPA 15237, USA
104B.M.G.Winter 2012EDDIE LANG TECHNIQUEPART EIGHTIn this issue we are going to take a look at a single note solo played by Eddie on a recording hemade with Frankie Trumbauer and Bix Beiderbecke in 1927. Under the title of ‘For No ReasonAt All’ the track was originally released on the album ‘Bix and Tram, Volume 2’ with theoriginal catalogue number ‘Columbia CL 845’. It’s on You Tube and is well worth a listen.The tune is a typical 32 bar ‘AABA’ composition—(an 8 bar theme repeated with slight variation, acontrasting middle 8, and a recap of the original 8), Eddie’s is the third chorus in and instead of just runningthe chords or building on the earlier solos, Eddie lays down a whole new instant composition beautifullypresented in a well sculpted AABA melody. The first technique to note is his re-use of his improvisatorymaterial - having created his theme instead of dashing on to new material he allows it to develop naturally.Compare bars 1 to 4 with 9 to 12 etc. Almost all of the solo is played on the first two strings, as can beclearly discerned from the recording. This keeps things fairly high and gives the sound of the plain steelstrings a chance to cut through or pass over the sound of the horns. This allows us to note a secondtechnique, Eddie plays the first 4 bar musical statement in the 10th position and then drops down to the 5thposition to produce a contrasting 4 bar phrase. He lets this technique carry him along changing between thetwo positions every 4 bars for the whole of his 32 bars. The third point which may have been a deliberatetechnique or just coincidental is the similarity of rhythm and phrasing between this theme and the big hit ofthe previous year (1926) ‘I Can’t Believe That You’re In Love With Me’. Not close enough to be a copy,but near enough to be a quote.To mark his passing on 20thApril 2012, thirty of BertWeedo n’s best kno wnrecordings are now available ona new CD. In 1959, Weedonwas the first British guitarist tohave a hit record in the UKSingles Chart, ‘Guitar BoogieShuffle’. His best-selling tutorialguides, ‘Play In A Day’ were amajor influence on many leadingBritish guitarists, including EricClapton, Brian May, GeorgeHarrison, John Lennon, KeithRichards, Pete Townshend,Tony Iommi and Jimmy Page.The Perfect Christmas Gift 4.99Postage UK: ‡2.00Elsewhere: ‡3.50Clifford Essex Music Co., Ltd.Tel: 01485 529323Email: cliffordessex@msn.com
Winter 2012B.M.G.The Return of the BanjolineThe original inspiration for thebanjoline was born in the 1920’swhen Eddie Peabody and hisstage partner Jimmie Maiselplayed duets on mandola andmandocello. Eddie tuned hisinstrument as plectrum banjoand was already playingbeautiful muted solo’s on hisbanjo. He had an instrumentconstructed utilising a mandolabody, a plectrum banjo neck butdoubling the 3rd string inmonotone and doubling the 4thas octave. The sound was sweetand this odd mixture proved tobe popular in his stage act. Eddierevitalised the idea of thebanjoline in the mid 1950’swhen he saw that the ElectricGuitar was becoming the ‘inthing’ he approached Bill Nelsonof Vega Banjos to make aprototype for him. A few wereconstructed but they were neverproduction models. Eddierecorded two albums purely onhis banjoline for DOT whichproved the instrument’s validitywith the album buying public.Fender was then approached toproduce the instrument but thedeal fell through at the lastminute and the RickenbackerCompany were then involved inproducing a couple of modelswhich were briefly manufactureduntil the early 1970’s.My inspiration to try thebanjoline came from a remarkthat Eddie’s grandson made viathe Facebook website: ‘EddiePeabody Fans Cellar’ and asked“Is there anyone today who canplay the banjoline”? Realisingthe potential of the banjoline asan instrument to bolster my solobanjo act, the plan of obtaining abanjoline was put into action.H o w e ve r , t he fe w o ldBanjoline’s that are out there arecollectors’ pieces and expensive.Could I really justify severalt hou sand do llar s o n aninstrument that would be, afterall, secondary in my arsenal ofstringed instruments? I thoughtabout the possibility of using acheap Asian copy and making areproduction Fender Banjoline.Of all the Electric Guitarsavailable, the Fender Telecasterhas about the right scale lengthfor Plectrum Banjo tuning, and Ifound a brand new copy forunder 100, complete with strap,cable, plectrum and a soft case!I must state right here that mywoodworking ‘talents’ arepurely at the level of a normalhandyman about the house.However, I feel that most craftorientated people with amoderate amount of tools canput this project together for verylittle outlayandhavefunalongthe way.Sean withhis finishedbanjoline.My Telecaster copy was brandnew and required very littlemodification. After removing thestrings, my main task was toslim the neck down to plectrumbanjo size. I removed theretaining bolts of the back-plate,tuning pegs and nut. The frets donot need removing as the fretspaces are fine. With a file Ireshaped the neck, the fret endsthen needed profiling andbuffing to remove the sharpends. I used a wipe-on oil finishinstead of re-spraying the neck,and there was no binding on this105by Sean Moysesmodel to worry about. With thatprocess out of the way, the nutneeded making. A nut blank canbe bought for very little money,take care to make the nut slotscorrectly. I used my plectrumbanjo as the template and with ajunior hacksaw and a small file Isoon made the nut. Neckcomplete!The tail-piece needed two extraholes drilled for the double 3rdand 4th strings, it simplyunscrews. The bridge on aTelecaster has a separate part foreach string. I removed the outerbridges (1 and 6), and with ajunior hacksaw I carefully cut asmall channel for the string torun through to the side of theexisting one. I restrung with anextra 3rd and used a 1st stringfor the octave 4th. Now I had myvery own ‘Telecaster Banjoline’!I have already had a lot of funwith my Banjoline and recordedmy latest album playing it.When plugged into an amplifier,using head phones, I can play atany time of the night or day,without disturbing anybody.The Banjoline Returns!!!
106B.M.G.Winter 2012EMILE GRIMSHAW PLECTRUM BANJOTECHNIQUE - PART 4by Ron HinkleHello again! Welcome to Part 4 of my series on Emile Grimshaw banjo technique. This isactually a continuation of Part 3, and the subject is Picking-Hand technique. In the lastlesson, I gave you a couple of basic exercises to start with. I could actually stop right there,because those exercises cover the physical technique pretty well; what I will do though is show you a fewpicking examples from his music. All you have to do is take the physical technique and apply it to thesituation. I don’t mean to make this sound ‘easy’, because it does take a lot of work; the more you practice,the better you will get (no matter how many years you continue to work on this!).Since Emile Grimshaw and his contemporaries were originally finger-style players (and the plectrum banjoevolved from the classic five-string), many of his picking techniques were either an attempt to imitate thefinger-style, or to more easily adapt the finger-style compositions to the plectrum. These could then bethought of as ‘hybrid’ techniques, further confirming how different they are from typical chord melodystyle. In my opinion, the result is a much more complex and musical playing style.So, here is a picking example(Figure 1, from A Banjo Vamp) thatis found in just about everyGrimshaw piece. The intent is tosound like two banjoists; the firstplays the melody (on the beat, upstrokes), and the second plays therhythm accompaniment (off thebeat, down-strokes). It may seem alittle counterintuitive at first to play up-strokes on the beat, but you’ll get used to it quickly; that’s themelody, so your ear will tell you it’s correct.The second example is a modernvariation (called a ‘broken-chord’stroke) that can be played inalmost every case. In the brokenchord strokes, strive for machinegun-like precision.Remember to keep your foundation fingers in contact with the banjo head, as stated in the previous article!Now, here is a variation of thefirst example, where the melodyis down an octave on the thirdstring, and the accompaniment ison the second and first strings.This one is all down-strokes; takeyour time, and try to get the auralseparation between the two partsthat is so easy in the firstexample.Below it is theequivalent broken-chord strokevariation.By the way, I’m sure you can see from these examples how pervasive the three-string chord is inGrimshaw’s music. There are many instances, though, where the melody will be on the fourth string, andthe accompaniment on the third, second, and first strings.
B.M.G.Winter 2012107I’ll show you a few more basic Grimshawpicking techniques; these are very muchrelated to the equivalent finger-stylestrokes (and actually quite similar to theexamples). This one is a glide stroke(down-down-down-up), from Beat AsYou Go. It is similar to the broken-chordstroke but is executed in a quicker, more dramatic fashion (no need for machine gun precision, it’s meant tosound like a flourish).The last example, (from A Spanish Romance) actually shows two different strokes: The half-note chord onthe downbeat of each measure is ‘arpeggiated’, meaning to play it one string at a time. It takes a littlepractice to get this one right; it still only takes up one beat, but you must distinctly hear each note. ThinkSpanish guitar on this one. The accompaniment figure is the interesting part; it is obviously just like fingerstyle. Because we only use one pick, there are usually some compromises made to accomplish it. Pay strictattention to the picking pattern shown in the first measure; sometimes you just have to do what you have todo to make it happen! Some of it may not make immediate sense, but the end result is music, and that’s allthat counts.This is not a complete compilation of picking-hand techniques, but it should be enough to get you started.Almost everything else is simply variations on these. Have fun! I hope you are enjoying Emile Grimshaw’smusic as much as I am! On behalf of all the banjo players here in the U.S, a very ‘Happy Christmas’ to all.Back Copies ofBMGPre 1926Urgently WantedAny ConditionGood Prices PaidCall Phil Jones on:02393 112364Email:philbmg@cliffordessex.netClifford Essex is theOfficial UK stockist ofWegen hand-made picksWe stock a wide rangeof Wegen picks,suitable for mandolin,guitar and banjo.Go towww.cliffordessex.neton the menu on the left,click on ‘Plectra’.Or telephone: 01485 529323.YOU’LL NEED STRINGSTHIS CHRISTMASSEE THAT YOU HAVE SOME SPARESIn Your Instrument CaseBUY ONLY THE BEST — FROMCLIFFORD ESSEXTEL: 01485 529323Solo Plectrum GuitarCD by Mike ChapmanSpeechless‡10.00 incl. P & Pmikensally@fsmail.netTel: 01277 231522Ideas forChristmas Presents ?visitwww.cliffordessex.net
B.M.G.108FROM A BATH CHAIRThe season of mistsandmellowfruitfulness is uponus, speaking ofwhich, mellow fruitfulness waswell exemplified by the speakinglikeness of Martin Wheatley,which adorned the front page ofthe Autumn issue of B.M.G.Martin is one of those raremusicians whose enthusiasm forthe music of yesteryear makeshis every performance a joy towitness, I well remember himplaying a wonderful version of‘Midnight in Mayfair’ at one ofthe Reading Banjo Festivals,some years ago, the tune, andMartin’s unerring performanceof same, occasionally still comesto m
minstrel banjo – that is, how the minstrels historically played the banjo – but this book is not one of them. As its title indicates, the goal of this book is to explore minstrel music, whether or not it was written for the banjo; as such, this selection includes arrangements of songs or pieces originally written for
Tenor Banjo Modal Scales and Arpeggios: by Ron Hinkle I’ve long advocated the learning and use of the modes for the plectrum banjo; now I’ll turn my focus to the tenor banjo. . Each scale simply starts on the next note of the C scale, and goes one octave (eight notes).
Road ON -163.216 4.294(RON) - O.021(RON)2 0.432(MON) - 0.012 (Heavy Aromatics) This equation indicates that the effect of RON on Road ON decreases with increas-ing RON level, and that heavy aromatics have an adverse effect on Road ON which is independent of its direct effects on RON and MON.
Apr 30, 2020 · Page 1 Da Doo Ron Ron Key of D The Crystals / Phil Spector D 2 1 3 1 2 3 4 5 G 1 3 2 1 2 3 4 5 A 2 1 1 2 3 4 5 IN
davis advantage for fundamentals of nursing volumes 1 & 2 by wilkinson, treas, barnett, . l bradshaw 001 l bradshaw 002 joy cole 003 brunner and suddarth's textbook of medical-surgical nursing by hinkle, hinkle, janice l., cheever, kerry h. isbn-13: 9781496347992 isbn-10: 1496347994 . davis
Havana, KS 67347 . 01/07/20 : Jeri Hinkle 1 N Linden Drive Wichita, KS 67206 . 01107/20 : George Hinkle 1 N Linden Drive Wichita, KS 67206 . 03103120 : Tim & Donna Nordell POBox 337 Sedan,KS 67361 . 03103120 : Earl Carter Purple Finch Drive Pooler, GA 31322 . 06118/20 : Blue Cross Blue Shield of Kan PAC 2301 Main SI Kansas City, MO 64108 . 06 .
Gen 3, 6.5 kV Gen 3, 900 V Gen 2, C2M Family 1.2 kV Gen 1, 1.2 kV Gen 3, 1.2 kV Scaling of State-of-Art Gen-3 SiC Power MOSFETs in R&D RCh/RON becomes larger for lower-V MOSFETs. For Gen-3 1200V MOSFET, RCh 40% of total RON. Future Prospective Reduce RCh/RON by: o Improving MOS INV o Higher packing density
Disney, 1992 PRINCIPAL CAST Robin Williams, Scott Weinger, Linda Larkin (Voices) DIRECTORS Ron Clements, John Musker PRODUCERS Ron Clements, John Musker SCREENWRITERS Ron Clements, John Musker, Ted Elliot, Terry Rossio MUSIC/LYRICS Alan Menken, Tim Rice, Howard Ashman SONG SELECTIONS “A Whole New World” .
A. Primary sources: writings by L. Ron Hubbard 1. Hubbard's literary output (fiction) 2. Hubbard's books in the fields of Dianetics and Scientology B. Secondary literature 3. Studies about Hubbard as a narrative writer 4. L. Ron Hubbard: biographical material and similar matters published by Scientologists 5. L.
