Editor's note: this article originally ran in Banjo Newsletter's July 1977 edition. It is re-published here by permission from the author and the Banjo Newsletter.
I have seen other arrangements for "Beaumont Rag" in a G tuning but to be played in the key of C. I had worked out a version but ran into a brick wall when I tried to play it with a fiddler. The reason? The natural key for the fiddle is the key of F.
I think it's important to hold on to original if at all possible. Since then I've found that the key of F out of G tuning is really a natural on the banjo. Look over the chords in the tablature below and you may agree. Even with the 5th string played open its sound is not a problem with the bulk of harmonies.
The secret to this tune is its start in C7 and then moving into F; then the typical 'rag-time down-hill' with two chords to each measure (in both the A and B parts).
A cross over technique is required in the opening measure; I get the 10 on the 5th string with my ring finger.
Notice the C7 run in the 1st ending on the A part, and its extended cousin in the B part. It is really single string work but don't let it throw you. The run in the B part follows the same fret span as you move up the neck; i.e. 2-4, 5-7, 8-10 are all three fret intervals.
The fifth string is not employed as much as in a G song, but if you wish to experiment in this key you will find it can be used more often if desired. Again, looking at the chords would do in a G or C song in G tuning.
You may find that the pull-off lick in the B part has some transfer value into other tunes where the F chord is played. Likewise the D pull-off in the 2nd ending of the A part. But that's what tablature is all about. Hopefully it will present a new tune, give some insights into different ways of playing it, and also building up a treasure of runs, licks, and ideas that can be used elsewhere.
Muskrat Ramble
The premise this month has been to open up some new ways to play on the G neck and in different keys. Just as the key of F appears to have a lot of potential, so does Bb. As promised in a previous issue when I tabbed "New Camptown Races" in Bb , here is a version of the old Dixieland standard, "Muskrat Ramble". It is done in Bb because that's how it was done in an arrangement for a dance band. Yes, it could be done very nicely in G, but there is something pleasing to my ear about that G on the 5th string ringing through the Bb roll in the opening statement. I personally don't think it sounds as good in G as it does in Bb. We all know that certain keys work out best for certain tunes.
This tune also employs the technique of moving through two chords in a measure. It calls for some quick changes when the left hand. Although the tablature does not show any dotted notes, this tune should be played in a highly synchopated manner. Try to put a bouncing lilt into it.
As far as presenting this tune from the jazz idiom is concerned I think that it is fair. If you have any doubts consider all the tunes that are considered bluegrass standards that came from that direction through the early efforts of Don Reno, ("Limehouse Blues", "Little Rock Getaway") Earl Scruggs ("Farewell Blues") and many other pickers that have played tunes because they were good, not because of their origin. A good tune is a good tune, and "Muskrat Ramble" is an ideal banjo tune.
I am always a bit hesitant putting something like this in BNL at the risk of angering or offending a fan of 'pure bluegrass', or a picker who only wants tunes within the realm of the three chord progression.
But I have been stirring this thing for a while now, playing it for numerous visitors that have visited the BNL office, and asking their opinion as to whether it should be circulated. Enough pickers have convinced me to put it into print so here it is. Give it a try or discard it; your choice. I think if you do play it you will find that the tune is fun and it should do more to open up the key of Bb for you.
In 1971, while working as a high school librarian, Hubbard Nitchie began compiling information on the 5-string banjo. He called it "The Banjo Clearinghouse," and that, along with a banjo tablature service he also offered called "Tab of the Month," eventually became The Banjo Newsletter.
Hub played 3-finger style, and was especially partial to the melodic style; his own columns in "BNL", Exploring the Fingerboard, concentrated on that style. In September ,1992, Hub received the Personality of the Year in Print Media award from the IBMA. In October 1992 he passed away in Greensboro, Maryland.
In 1988, Hub wrote: "Whatever objective you have with your interest in the banjo—to play for yourself or for others, or whatever musical style you prefer—our goal at Banjo Newsletter is to celebrate the banjo."
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