![]() I really am convinced that it is the best learning tool I have ever discovered. ![]() I'll be anxious to hear other ways people are using this program. There are some cool Grisman things you can do over this melody, since it is minor feel over major chords. I have had fun trying to play this Monroe tune in a more melodic, fiddle tune approach (just as it is fun to play Monroe style over a fiddle tune). And doing it this way is about as close as you can get to playing along with others and improvising. Here's where learning the chords from the start really pays off. Keep doing it-once you loosen up with five or six passes, you can often get some good stuff. How about another break? Turn off the mandolin module and improvise a break. (Just a joke, Joe and Ben!) But you can still use the program to do more. Once you can do that comfortably, you have learned the tune well enough to play it with actual humans (or in my case, the guys I play with). But you have to be able to do it on your own. Turn the program off and try to play it by itself, all by yourself. Yikes! This will show you what you know and what you don't. Once you can play it without looking, turn off the mandolin module and play it with just the chords. Eventually you will need to play it without looking at music. This may mess you up-which will show you that you don't really have it yet. When you think you have it, play it while looking away but still listening. Monroe played it MUCH faster after this recorded version! Yikes!) And eventually you'll be near a banjo, and he'll play it too fast! And btw, as I will write in another post, Mr. Even if it is faster than you want to play the tune, it will be good to go over the limit-shows you what you really have, and what you don't. Good thing there's that repeat button! (By the way, might not be a bad idea to use the "nuclear power" approach-turn it up past 100% and see if you can do that too. Just keep going at it until you can play it up to speed. On some tunes, I can NEVER get up to the 100%-but this one didn't take that long to get to. The program is great because you can do this as it plays, so you can tell how fast you are getting. As you get it better, speed up by degrees. But it's important to get the whole thing, especially the one tricky place that trips you up. With this tune, it almost seemed too slow. And most importantly, when you begin to improvise and go beyond this one break, you need to know the chords so you can build from there. The chords are a big part, especially with a Monroe tune. Even more importantly, when you learn a tune like this, you are not just learning the melody, you are learning the whole thing. With a tune such as "Southern Flavor," you are going to have to teach the chords to most people you play with-it's not one that everybody knows. This is very easily done by opening a new file, clicking. TablEdit was the first tablature program to handle the fifth string correctly, and supports four string banjo as well The first thing to do when starting a new TAB for banjo is to select the instrument. I have made the mistake of concentrating so much on the melody that I couldn't show the chords to somebody else so we can play it together. TablEdit has supported banjo tablature since it's earliest days. It's really important not to skip this! Most elementally, you will eventually be playing chords on this, so you need to know them. Do that until you really know the chords. Rather than start playing the tune, play the chords along with the tune. ![]() But even if you are, you want to get this version in your head firmly. (Go ahead and set it on repeat-you're going to be playing this thing over and over!) Especially good if it is a tune you are not familiar with. Listen to the tune a few times, looking at the music/tab and chords. These are a few things I've discovered about using the program-I bet other people have some good ideas too! I was about six years old (1930) and I wondered how a blind person could play so beautifully.I wanted to talk a bit about some ways to use TablEdit (or whatever program or method) to learn a tune. The G7 chord he played in this number was one of the most thrilling sounds I had ever heard. I remember him from a visit he made to my Uncle Sidney Ruppe’s home rocking in a rocking chair and picking “Home Sweet Home” in the in the key of C. There was Mack Woolbright, a blind banjo picker who recorded with Charlie Parker on the Columbia label in the late 20’s. In his book “Earl Scruggs and the 5-string banjo” (1968) Earl tells: “There were several three-finger banjo pickers I admired who lived near our Flint Hill community. Earl SCruggs' version is based on Mack Woolbright's version. ![]() Notes: This is my interpretation of how Mack Woolbright played the "Home Sweet Home" breaks the the recording of "The Man Who Wrote Home Sweet Home Never Was A Married Man" made 1927 by Charlie Parker and Mack Woolbright on Colombia 15236-D. Genre: Old Time Style: Clawhammer and Old-Time Key: C Tuning: Drop C (gCGBD) Difficulty: Intermediateĭownload: TABLEDIT | PDF | MIDI ![]()
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