LA MI LA MI LA,c'est ce qui est marqué sur la tombe d'un musicien qui était mort d'avoir trop mangé de pain de mie...dixit la mie l'a mis là...
J'ai pris contact avec tout ce petit monde, j'en connais déjà pas mal depuis un bail, les autres sont trés sympas.
Merci mon pote !
Hey, thanks! I like your version of the Morley too; I'll have to incorporate the octaves on the walkdown of the "D" section--sounds great. I'm doing my best to approximate William Ball's performance on that tune; have you heard it?
Hi Marc - I could not help but note that you were aware my father (Tom Barriball) played a "Clifford Essex Regal" banjo. How did you get to know my father? We, the family, have over more recent years lost an awful lot of photos and history in relation to our Father and my Brother in Leicester & I are trying to regain some of what has been lost. Anything you can tell me would be very much appreciated
Hi Marc. with regard to our Luscombe problems , well I have just been playing through , "Thoroughbred Hornpipe " . I thought I would tune the banjo down as the music requires you to do , well what a revelation , for the first time the old Luscombe sounds great , well at least to me . I think that from now on I shall be keeping this banjo tuned this way . --- first string -B , 2 Gsharp , 3E, 4b, 5E . If you have not tried this do give it a go .As you may be able to tell I'm excited .Regards Mike .....
I'm contemplating your family story and wondering. Was your great- grandfather in an isolated area? I haven't noticed a bouzouki shortage in Australia, at least not in the cities. If the five string banjo, which is about as far as a string instrument can get from a bouzouki in construction, sound, playing technique, appearance, etc is as close as he could get to a bouzouki he must have been very far indeed. Maybe it was the long neck that seemed similar (?)
Marc, I was looking at your arrangement for Sweet Corn by Weidt. In the original music, there is a key change from C to F at measure 56 that continues until the end of the song. In your piano arrangement, you maintain the key of C throughout the entire piece. I am curious why you did this? The partial 2nd banjo accompaniment also goes to F, however the rest of the song is not included in the download. I am trying to arrange the piece for my band but without the remaining 2nd part all I can rely on is your piano arrangement, which doesn't seem to be correct. Could you respond to me?
I notice that you mention the "partial 2nd banjo accompaniment" for Sweet Corn. There may be a bit of confusion as to how the score is laid out. I have added a couple of Coda phrase instructions to the score and you can now see that the whole 2nd banjo/guitar acc is, in fact, on that single page of the download.
I have also amended the MUSIC LIBRARY for this score download to contain the above page and Marc's updated, 3 page version, of the 1st banjo with piano accompaniment.
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