Phew!

Back, unpacked and rested!

Tremendous day yesterday, our new choice of venue exceeded expectations.

Great turn out of familar faces, nice to see Sully and Richard Ineson back in playing form.

The Community playing has improved a lot - Richard weilding the might contra bass, Tony P on bass, massed 1st and 2nds and Brian on mandolin banjo and my self on piccolo. Carolyn got down mid afternoon and took some pictures that I've uploaded. There is some video to come as well. No doubt Paul will be putting his photos up. We also had a visit from the local press photographer - something should be going on their web site soon.

Tom did a brilliant job with the catering - pork sandwiches for a week or two?

Also thanks to must go Richard and special thanks for service above and beyond to Sue in the kitchen and my Dad on the door.

Needless to say we will be booking the venue for next year.

We even found a good pub ! The Rose and Crown in Barlborough - brilliant food but who asked him to put Duelling Banjo over the house PA!

 

 

  

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All I can say is that TAB is constantly improving. Older stuff had many problems, esp. with rhythm and phrasing. These issues persist, even though current software allows one to create TAB with all the attributes of classical notation...except for the above mentioned melodic map. That single aspect is where TAB will always fall flat.

Ah well, I'm too lazy to change and there are hordes of tab-trained banjoista out there that ought to have access, so I'm keeping on keeping on!

They done us good!

Thanks to my friend Hayley :

Worksop Guardian

Remarkable: In all the photos exactly one (half actually) fifth string peg appears. Reflective of a prejudice that banjo must have only 4 strings?  Photoshop?  Decidedly odd. So is the way youze guyz in the yookay spell stuff. Yuz take away the s from *workshop* and convert it to an *e* and put it at the end of Clown(e). Actually it's just as well that clown (without an e) and banjo (with or without a fifth string peg) are not appearing together in an article that evokes all the stereotypes like plucky and twang! That a good time was had by all  was in evidence however.

David Wade said:

They done us good!

Thanks to my friend Hayley :

http://www.worksopguardian.co.uk/news/merry_band_of_banjo_buffs_com...

Hmmm...I found out of the eight photos, #3, #6, #7 & #8 show 5-string banjos. Group photo (#5) is taken from an angle where any pegs might be hidden. I say "fair and balanced". Looks like a great time was had...and I do love "Blaze Away"

To put  the record straight, Adrian and Ray are only holding plectrum banjos for the photographer; Rev Peabody's bassis 4 strings but Richard's contra bass has three! Tony "Sully" Sullivan was the only person to play plectrum - despite his recent illness he managed a nice set of Irish tunes.

"We''ll make a bonfire of our troubles and watch them Blaze Away!"  

Sorry to be coming into the discussion so late but I wanted to throw my two cents in. When I get a new piece of music, I strip out all the dots and PBs. I find they are more of a pain than being useful. Many times I have found alternate fingering for the notes that allow me to perform the song better than someone else's fingering. After all, it is just a suggestion based on another's playing.  Another reason for not liking the directions is that I memorize all of my songs rather than read them live in real time. Memorizing the song allows me to concentrate on playing the song not just reading the song. Would any of you pass up learning a song if it didn't have the extra bits in it?

 

I am currently arranging a series of songs for 3 banjos, all without the extra bits except for dynamics and directions on what to play next, Fine, Coda, del Signo. Would you all pass these up for lack of the extra notation?

 

Hal Allert

 

 

Jody Stecher said:

The "curse on musicianship" reference had a context. Ian and I had been discussing (off this forum) how students who learn tab before learning to hear and listen tend to become crippled in the area of rhythm and phrasing. As a teacher I have seen this many times. It wasn't a comment on the quality of the music represented in tab. That is another story and actually is often true (a tab is as good as the ears of the tabulator) but that was not the topic here. Ian and I were also agreeing that banjo staff notation with its indications of left and right hand fingerings, 5th string symbol, and barre and fret position chord an note indicators already has all the info that tab presents but in a system that includes a map of the melody. Staff notation "looks like" the tune. Tab doesn't.  But yeah, lots of great music was successfully stored and reproduced by means of tab. Not only lute and other european string instruments. The great tradition of the Guqin of China has been represented only by a tab system for centuries. But as with lute etc, there is a context. The context is a culture of listening and hearing. One has heard the piece or similar pieces from teachers and others and the piece (or its type) is active in the mind and heart. Then the tab is useful. 

Mike Moss said:

Well Ian, don't forget that electronic tuners have the advantage of making time travel possible!

 

I read notation myself (many years of playing the piano and other instruments before taking up the banjo) but I don't mind tablature with notation, especially if I'm unfamiliar with an instrument. I would hardly say that the likes of John Dowland or Luys de Narvaez lacked musicianship; tablature does have its uses, even though it isn't a substitute for notation.

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