I forgot to add the dots. Mark Wardenburg from Tater Joe's has provided a couple of versions HERE.

I LOVE this tune and made a video of it a while ago that I thought I'd share again:

https://youtube.com/shorts/GOyogxtZUDI?si=EtYT3vjXrTLXA65c

I play this (and all my G tunes) in gDGDE tuning - that's especially nice for this tune as I had to go so far up the neck in the B part; I'd have to climb 2 more frets to find those notes in open G.

This is one of those G tunes that a low-bass 6 string would be great for - I used to have one but got a bit sick of the tuning issues. I kind of enjoy playing Golden Ticket in D on a 5 string to keep from having to jump to the high octave.

I learnt a basic version at a jam a while back but hearing these recordings really highlights the full beauty of the tune. Thanks for sharing - lots of homework for me to catch up on!

This is a beautiful tune and played beautifully by all parties above. However I have noticed some beautiful fiddle tunes that are written in recent years are challenging to play on the banjo up to jam speed any time the fiddler lays into that low G string. The banjo then has to jump through some hoops to adjust for not having those low G string notes – go to a chord, or jump way high up the neck, and probably other tricks I am not aware of. A couple examples of other tunes in this category are Henry King's Reel and Little Pine Siskin. Sometimes going up the banjo neck to get the low notes on the fiddle works (Possum Up A Gum Stump) but other times it sounds clunky. I couldn't make out what John Herman was doing with his banjo with at least two fiddles and a guitar in the background. I am curious as to how he tackled it. Anyway as an average to mediocre banjo jam player it would take me a long time to be able to play such tunes anything close to jam speed with that much real estate up the neck. I meet my limitations. How do some of you solve this challenge besides being talented, fabulous players? banjered

jenorma1 Thanks for posting your version, Jeff. It's a great addition to this TOTW. For some reason the Youtube algorithm didn't bring it up when I was putting this post together.

banjered I agree! There are many newer tunes that have notes that are out of reach on the lower end of the scale.
I usually try to hit all the notes the fiddle is playing and I most frequently opt to go up the neck to find them. It seems like John Herrmann shines because he is more of a rhythm player - reproducing the notes is not as important as driving the tune. It certainly works here.
When playing faster in a jam I usually leave out the lower notes that I can't get to or simplify the high parts. jenorma1 's suggestion of using a six-string banjo (with an added bass string) is a good one.

Glad you chose this tune, Pat, and thanks for your slower version that brings out the uplifting melody.  

I've heard Rayna Gellert play this in the past and always enjoy learning her versions of tunes.  My first arrangement was up the neck on the B part, but then tried down the neck and liked it more.  Your comment above about going to chords when things get tough fits in precisely with what I did with one phrase -- it was the best way to express the melody (in the second half of the 13th measure in the tab).  

Your thoughts about challenging tunes up to speed in jams is worth its own thread.  Hopefully others chime in here with their thoughts, especially those who regularly go to jams, which I no longer do.  I guess the key is to both simplify and to practice.  When I watched the video with Morgan Harris above, I could see the concentration it took and imagine the long solo practice sessions.  Do such players need to simplify/modify techniques to achieve their virtuosity?  I recall in my Adam Hurt lessons that he would envision another way to play a phrase than I was playing and thereby introduce me to helpful left-hand techniques.

JanetB I Iike the way you've brought the B part back down below the 5th fret. It makes the tune more accessible. Thanks for your insights on the discussion about handling challenging tunes in faster jam situations. You brought up one of the most important points that I neglected to mention: PRACTICE. We can certainly do that on our own at home ( I use Strum Machine so that I can increase tempo incremenatally), but I think the best way to develop those skills is to actually play in jams. I'm amazed at the way I've seen musicians adapt to the playing of those around them.

thanks for posting this Pat...one of my favs...playing this tune sends me to my "happy place":) When I first heard a friend play this they told me it was a crooked tune...and I believed that..and I have seen a few attempts made to put this tune into standard notation where the transcriber notes various odd measures...in 3/2 ...or 6/4...or sumtin...but then a different friend told me it is NOT crooked...and after talking it thru with him...and playing thru the start of the A part many times with him...I am now convinced it is NOT crooked...which I think is what is shown in the last notated version you linked to...but the first two show someone...IMHO... tying themselves in knots to try to make this tune come out "right"...when it is really just a matter of "pick up notes"...and first and second endings to each part...case closed...tangent...while I can and do appreciate the folks who do the work to put old time tunes into standard notation...it is like trying to put a tuxedo on a gazelle...you might get it to fit...but gazelles don't wear tuxs...and if you somehow do manage to get that tux on the gazelle...that gazelle just doesn't run the same with the tux on

I've noticed lots of times discrepancies between a recorded tune and then either tab and/or notation. It's to the point that I take the notation and simultaneously listen to the recording to see how well they jive. I see I may not be the only one doing this.... banjered

Here is my version of this tune, a little late as I had to relearn how to video

It is a 2F and not easy to do.

youtu.be/ZgyeBhrpHLc

mikeyes Thanks for posting,Michael. It’s always good to hear from the two-fingered clan.