A few responses to February's Tune of the Month suggested that more than one a month would be necessary for some momentum. One suggestion was for a jig and a reel. As the first tune was a slip jig, here we go with a very common session reel. This version is close to Slainte's setting of the tune at thesession.org/tunes/64#setting12512 (setting #2).
The inspiration for this tune of the month is the discussion related to playing "the high B," which is played at the seventh fret in GDAE tuning and presents a hurdle for learners. The Maid Behind the Bar has a few "high Bs" in the B part. Some people play the whole tune in first position (close to the nut), while others shift their hand to reach the B. One great example of the latter style is Barney McKenna of the Dubliners:
My contribution. In our session, we play this tune about 5 times faster which changes the tune completely. I prefer the Barney tempo and version, but you don't always get what you wish for.
You can throw sticks and stones at me for this post but I have to say it. GDAE doesn't cut it for reaching that high B at session speed. More often than not there is a lurch in timing around that note. I tried for months to get it right and never succeeded and then I noticed most other players - even the alphas - were having similar issues with that note. I came up with my own tuning - DADA - that took care of that problem. I could play most tunes OK, sort of a string penny whistle, and it was a useful tuning for my voice for songs both in major and minor modes. I decided that if I ever really got back into celtic tunes I would have a tenor banjo made with FIVE strings with a lower string. I'd probably still tune it DADA with the lowest string in A or G depending upon the tune.
OK, you can commence throwing text stones at me. Maybe I am the only one in the world that just thinks there is a lurch in timing in that high B but I can live OK with my delusion and ostracizing. Heave away....Banjered
Great tune, started learning it this morn, finding it a little easier then the slip jig. Fine pickn Mike, I prefer a not so blazn tempo as well.
"Some people play the whole tune in first position (close to the nut), while others shift their hand to reach the B."
Ha, i was blessed with the stubby fingers of a hobbit. Playn a 19 fret. I find it comfortable...i wouldnt come close to hittn the b note in first position even with a 17 fret. No choice but to move.
banjered - You're not unique in using dada tuning. I know an accomplished Irish music teacher (concertina, whistle, mandolin, bodhran etc) who I've seen playing a mandola in dada tuning. I might be tempted to try it. Do you have a chord chart for that tuning?
Somewhere, somebody has a DADA chord chart. But dulcimers main tuning is DAD so it'd be easy to spin off one of their charts. DADA works great for the keys of D and G and their minor modes, just played "Murshin Durkin" to back up my spouse's singing in the key of G on my octave mandolin tuned CGCG but with the capo on the second fret (DADA tuning).. I stopped playing tenor banjo before I worked out an approach to A tunes - leave DADA alone, EAC#A, or DAC#A? Banjered
Nice, and thanks for the video, I know this tune but not very well. I never thought of switching positions on this tune until I watched this video. I would jump up to the b each time.
James, what kind of banjo is that? Is it just the angle or does it have a really small head on it?
You can throw sticks and stones at me for this post but I have to say it. GDAE doesn't cut it for reaching that high B at session speed. More often than not there is a lurch in timing around that note. I tried for months to get it right and never succeeded and then I noticed most other players - even the alphas - were having similar issues with that note. I came up with my own tuning - DADA - that took care of that problem. I could play most tunes OK, sort of a string penny whistle, and it was a useful tuning for my voice for songs both in major and minor modes. I decided that if I ever really got back into celtic tunes I would have a tenor banjo made with FIVE strings with a lower string. I'd probably still tune it DADA with the lowest string in A or G depending upon the tune.
OK, you can commence throwing text stones at me. Maybe I am the only one in the world that just thinks there is a lurch in timing in that high B but I can live OK with my delusion and ostracizing. Heave away....Banjered
Not delusional, just over thinking it. I used to know Barney in the early 70s and they couldn't give a s***e about that kind of analysis. They just drank, played, drank, played..you get it..
I've often thought of Barney as a "kind of Earl Scruggs" for the Irish Tenor. He has probably done more than anyone in making the Irish Tenor popular even though there are many modern players who are technically superior (depending on your tastes). eg Gerry O'Connor, Enda Scahill etc. He was getting on in years when that video was made. Just listen to his earlier recordings. Smooth and full of feeling. He was also very funny :-)
Not delusional, just over thinking it. I used to know Barney in the early 70s and they couldn't give a s***e about that kind of analysis. They just drank, played, drank, played..you get it..
Just play, drink, have fun, fall down..
Bob
I had the privilege of playing in our local Bluegrass Band in Adelaide Sth Australia and being the support act for the Dubliners in 1977.
Barney had consumed quite a few beers, just came on stage for the 2nd half, sat down and played their full show without dropping a note.!
Nice, and thanks for the video, I know this tune but not very well. I never thought of switching positions on this tune until I watched this video. I would jump up to the b each time.
James, what kind of banjo is that? Is it just the angle or does it have a really small head on it?
Thanks Dan. It's a standard size pot so it must be the camera angle. It's a hybrid of a 17 fret Deering Goodtime neck with a Chinese made pot with a rolled brass tone ring which makes it a bit louder for playing in session. My usual 19 fret Capek needs some work doing so I'm using my back up.
I've come to the banjo from mandolin so I use mandolin fingering and pivot on the A to reach the high B - I'm actually not moving out of first position for this tune. I seem to be having more problem here going between the D and the A. I played the tune again after this and realised I usually use the pinkie on the A at that point but for some reason I decided to role the ring finger between the two - must have been camera nerves!
I actually find hitting the high B cleanly harder on the mandolin because it is a smaller target, so it's not just a function of the degree of stretch.
Correction - I've just played this again - I do shift to the second position. Put me in the just play and don't over-think category - I have no idea what I'm doing!
Correction - I've just played this again - I do shift to the second position. Put me in the just play and don't over-think category - I have no idea what I'm doing!
I disagree, you're doing exactly what you should be doing (not over-thinking).
Overthinking or not, the discussion is valuable. It's interesting to note when we make decisions like rolling/barring a finger over two strings vs. playing with separate fingers. I use both methods, too.
Overthinking or not, the discussion is valuable. It's interesting to note when we make decisions like rolling/barring a finger over two strings vs. playing with separate fingers. I use both methods, too.
Thanks Ben. The thing I've learnt from posting this video is that I need to work on the rolling versus using the little finger technique. Filming yourself is a great learning tool - I would recommend it to anyone even if you don't go as far as posting it on youtube. In fundamental matters of technique I think it is always good to keep questioning what you do, so that ultimately you play without thinking.
Brian McGrath has an interesting take on hitting the high B:
Not delusional, just over thinking it. I used to know Barney in the early 70s and they couldn't give a s***e about that kind of analysis. They just drank, played, drank, played..you get it..
Just play, drink, have fun, fall down..
Bob
I had the privilege of playing in our local Bluegrass Band in Adelaide Sth Australia and being the support act for the Dubliners in 1977.
Barney had consumed quite a few beers, just came on stage for the 2nd half, sat down and played their full show without dropping a note.!
I suspect he would have had a problem had he NOT consumed a few beers. I used to hang out in O'Donoghue's Pub in Dublin in the early 70s. That's where the Dubliners got together and they would often come in a join in the session, though usually not the whole group.Barney lived in Greystones, a bit South of Dublin. Other up an coming musicians like The Chieftains, Paul Brady, Christy Moore, Planxty and the Bothy Band would drop in for pints and tunes. Great place to learn all about Irish music and Guinness. I arrived in Dublin in late '69.
Actually I was wrong. Ronnie was fro Greystones and we would occasionaly take the same bus from O'Ds, the 84 which passed my stop first. Ronnie was the "head" in the group.It's remarkable that they lived as long as they have. Many didn't.
The attached taken a few years ago was in the original part OD's in my old seat. The pictures have been there since the 60s The banjo is my 1919 Paragon, the same banjo Barney played.
This is Mist Covered Mountain. I play it and I believe I play the high B part identically. Is he going index on third, middle on fifth and little on seventh? If so, that's how I play it.
Wayne
quote:
Originally posted by James Rankine
quote:
Originally posted by benhockenberry
Nice job, James and Mike!
Overthinking or not, the discussion is valuable. It's interesting to note when we make decisions like rolling/barring a finger over two strings vs. playing with separate fingers. I use both methods, too.
Thanks Ben. The thing I've learnt from posting this video is that I need to work on the rolling versus using the little finger technique. Filming yourself is a great learning tool - I would recommend it to anyone even if you don't go as far as posting it on youtube. In fundamental matters of technique I think it is always good to keep questioning what you do, so that ultimately you play without thinking.
Brian McGrath has an interesting take on hitting the high B:
You've been missing from these parts lately. Gotten into old time, right?
Wayne
I have been playing tenor and guitar for contra dances in chapel Hill for the past few years. A couple years ago a friend in Saxaphaw asked me to set up his 1890s Cole. After finishing I messed a round a bit with it and 5 banjos later! The group I play with in NC toured England last summer.
I used to play an open back Vega when I was a kid and brought it to Ireland with me. I used to busk at the Dandelion Market near the top of Grafton Street. I had a sign that said "Trying to raise money for a ticket home" Not sure if they actually like the OT music I was playing or they wanted to see the back of me, but I did VERY well. I'd play till Holy Hour was over (2-4pm) then head over to O'Ds, stash my banjo, and play ITM till closing. We never had to pay for a single pint, so all the money went for expenses.
I have been using the 5 string to accompany our singer (from Tipperary) in our local band Aris! Sounds great and follows in the trail of the Dubliners and Clancy Brohers who used a 5 string as well. The 5 string was introduced in the 19th Century by the visiting minstrel shows.
Oh cheers for posting that O'Donoghue's Opera clip Bob! I'll have to sit down and watch the whole thing later this evening. Will be keeping an eye out for my gran, aunt and uncle as they all were pals of the Dubliners back in the day. My Uncle Brenny used to put dances on and Ronnie Drew & Friends would frequently play in the pre-Dubliner days.
Oh cheers for posting that O'Donoghue's Opera clip Bob! I'll have to sit down and watch the whole thing later this evening. Will be keeping an eye out for my gran, aunt and uncle as they all were pals of the Dubliners back in the day. My Uncle Brenny used to put dances on and Ronnie Drew & Friends would frequently play in the pre-Dubliner days.
They moved around a lot but at that stage ('65), they were probably out in Dun Laoghaire. Brenny used to put stuff on at the Top Hat and the Purty Kitchen among other places.
They moved around a lot but at that stage ('65), they were probably out in Dun Laoghaire. Brenny used to put stuff on at the Top Hat and the Purty Kitchen among other places.
I used to play at the Purty Kitchen in Black Rock, if I remember. I lived in Ballybrack, a short walk from the Silver Tassie.
Not delusional, just over thinking it. I used to know Barney in the early 70s and they couldn't give a *s***e* about that kind of analysis. They just drank, played, drank, played..you get it..
Just play, drink, have fun, fall down..
Bob
I had the privilege of playing in our local Bluegrass Band in Adelaide Sth Australia and being the support act for the Dubliners in 1977.
Barney had consumed quite a few beers, just came on stage for the 2nd half, sat down and played their full show without dropping a note.!
I suspect he would have had a problem had he NOT consumed a few beers. I used to hang out in O'Donoghue's Pub in Dublin in the early 70s. That's where the Dubliners got together and they would often come in a join in the session, though usually not the whole group.Barney lived in Greystones, a bit South of Dublin. Other up an coming musicians like The Chieftains, Paul Brady, Christy Moore, Planxty and the Bothy Band would drop in for pints and tunes. Great place to learn all about Irish music and Guinness. I arrived in Dublin in late '69.
Here's an ornamented version of The Maid Behind the Bar. Not doing anything too interesting here -- I need to experiment with this tune more. When I learned this tune several years ago, some ornaments and picking patterns cemented themselves into it for me, and I embedded some bad picking habits into the tune, too. Time to practice slowly, even on tunes I think I know well!
They moved around a lot but at that stage ('65), they were probably out in Dun Laoghaire. Brenny used to put stuff on at the Top Hat and the Purty Kitchen among other places.
I used to play at the Purty Kitchen in Black Rock, if I remember. I lived in Ballybrack, a short walk from the Silver Tassie.
Bob
The Purty was out in Dun Laoghaire - they changed the name to The Purty Loft at one stage in the late '80's maybe?
Hey all, new member here. Thought id share my quick attempt at this tune. Ive been an on/off player for about 5 years now and am determined to stick at it this time.
Hey all, new member here. Thought id share my quick attempt at this tune. Ive been an on/off player for about 5 years now and am determined to stick at it this time.
Welcome, and nicely done. I have watched some of your other videos, so nice to "cyber" meet you. I really like the way you "hit" your A in this tune. I hope that makes sense.
Hey all, new member here. Thought id share my quick attempt at this tune. Ive been an on/off player for about 5 years now and am determined to stick at it this time.
Hey all, new member here. Thought id share my quick attempt at this tune. Ive been an on/off player for about 5 years now and am determined to stick at it this time.
Hey all, new member here. Thought id share my quick attempt at this tune. I've been an on/off player for about 5 years now and am determined to stick at it this time.
Hey all, new member here. Thought id share my quick attempt at this tune. Ive been an on/off player for about 5 years now and am determined to stick at it this time.
Unfortunately not I ordered through the website. I will get down someday as its only around a 3 hour drive.
Last time I was there he had 3 Paragons plus mine. He's a great guy as well. I've played in Lurgan with my band from West Mayo but been a while. Spent time in Mayo Bridge in the 70s.. Sipping a cup of Punjana as I write...
I'm not fast enough to play a real reel, so I turned the tune into a hornpipe, kind of a gypsy hornpipe, played this time on my new Dupont tenor uke tuned CGDA youtube.com/watch?v=cJd4Q3_xC_U
