Comment by julian egan on January 20, 2013 at 0:52

Thanks Mike &Ian for the clarity on the "copywrong" issues.

Steve, im going to man-up and get on with it!! I think its more laziness than anything. Im having such a good time playing all these new tunes from a (new- to- me) genre that im running before i can walk.

Comment by Trevor Boyd on January 20, 2013 at 16:31

Julian, Mike Moss has written a really useful tutorial on reading banjo notation and I'm sure there's a copy on this site somewhere. No doubt Mike will be along shortly to point you to it. Like you, I started out playing classical guitar, and I learned from written notation not tablature. So for banjo I always try and work things out from the notation and only check the tab if I get stuck. Having said all that you seem to be doing OK! :-)

Comment by Mike Moss on January 20, 2013 at 16:54

Thanks Trevor, I forgot to mention it. I'm glad my guide helped you, I really should get around to producing an updated version, one year later. The original version can be read on this thread in the Banjo Hangout: http://www.banjohangout.org/archive/226430

However, some time ago I compiled and updated it for use on this site into a single PDF file without the strange notation-phobic rants by "Corwyn". You can download it here: http://www.mediafire.com/view/?bzvroespozgze9a

Basically, the goal of this guide is to demistify banjo notation by showing that notation actually edited for the banjo contains so much additional information (positions, left and right hand fingerings, etc.) that it can be read almost as easily as TAB, with the added benefit that these "training wheels" help you to eventually be able to play from the dots without needing the annotations. In fact, reading notation from positions/fingerings is so easy that, once you're used to it, TAB feels clunky and slow in comparison. Think actually learning how to draw vs. playing "connect the dots" ;-)

Comment by julian egan on January 20, 2013 at 17:28

Thanks Gents, i was on the verge of learning "Georgia Grind" by ear alone, just to keep my old method alive, i still enjoy the challenge of learning pieces by ear alone! I think it keeps my ears sharp! But........seeing as though you have led me to the water, it would be rude not to have at least a sip !!! Thanks again......

Comment by Trevor Boyd on January 20, 2013 at 18:15

Yes if I remember correctly the gist of "Corwyn"'s comments was that musical notation was "meaningless".  That put the history of western music firmly in its place!  I found it very useful indeed. It would be good to have a version on the Classic Banjo site - perhaps under Lessons or FAQs.

Comment by thereallyniceman on January 20, 2013 at 20:16

Julian said:

Thanks Gents, i was on the verge of learning "Georgia Grind" by ear alone, just to keep my old method alive, i still enjoy the challenge of learning pieces by ear alone! I think it keeps my ears sharp!

Julian, I have worked through my Georgia Grind and added a TAB staff so that you can see both the notes and the TAB together.

I hope this helps :-)

GEORGIA GRIND WITH TABLATURE

Comment by julian egan on January 20, 2013 at 21:50

That, my good Sir is quite simply gold dust!! Thanks very much!!!

Comment by Trevor Boyd on January 21, 2013 at 0:00

17PB? Now that is Indian territory!

Comment by Jody Stecher on January 21, 2013 at 0:49

For "Indian Territory" try A flat minor in the first 6 frets. In A Flat Major (Ragtime Oriole for instance) at least one may make a first fret barre chord, and the open bass string (C) fits right in the scale. But A flat minor makes me dizzy.

A Barre at fret 17 is just a garden variety C major chord, sounding an octave higher than it does at the 5th fret. Just as a barre at the fifth fret is 5 frets above the nut, this one is 5 frets above the octave fret (the 12th fret). If one looks at the 12th fret as a new beginning (the "second nut") everything above it becomes familiar.  Fret 17 is used so often that most banjos have an inlay there. 

Comment by Trapdoor2 on January 21, 2013 at 1:05

Scarier is the "Ex" position. 215-3 indeed! I have enough trouble with the 214 (D7). I could probably play that position on the Banjeaurine...maybe.

I would play that as 213, catching the G open. All fingers stay down, etc. Different strokes, eh? ;-)

Add a Comment

• ‹ Previous
• 1
• 2
• 3
• 4
• 5
• 6
• Next ›
• Page