Classic-Banjo

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Arling Shaeffer"s Celebrated Solo Jig No. 1

So I figured this should get its own discussion.

I think this piece first hit my radar after hearing Eli power through it during a Round Robin at an ABF rally.

I did spend some time with it in the past and pulled it out today for some run throughs. Here are my thoughts.

The original 1884: typos a plenty, but for some reason my brain has no trouble auto correcting and playing without pause after figuring out what was going on. Fairly straightforward solo.

The version in the Elite tutor (this was also issued as a single sheet as was most in the latter part of that book). This is basically the original but reads wonky, having you jump back to the first strain after the second but then jumping forward to keep it on one page. It would not be exactly clear to me how to read it had I not played through the 1884 edition.

Clifford Essex arrangement: this is more or less the same as Arling's with a change to lead in grace note triplets marked "roll". He also has you rasping the chords where Arling just has you playing them arpeggiated.

J. E. Dallas arrangement, Turner No. 156. Dallas has made some section arrangement choices as well as doing away with the lead in triplet. This is my least favorite.

Olly Oakley arrangement, Turner No. 768. If at first you don't succeed, try again I guess.

This one is slightly more flashy than Arling's with some slight syncopation in the B strain. I also like the little descending triplet scale in measure 8 of B. Essex spiced this measure up a little but Oakley put some shine on it. It seems to me that Oakley was working off of Essex's arrangement.

So, what is my takeaway? Play it how you want and spruce it up or simplify it. This is another solo, like Lansing's DD, that seems to have stayed in print or was available for pretty much the run of the "classic banjo" era. I think it should become a standard piece and I'd like to hear it more at rallies. With second banjo parts available, I'm down to play with anyone.

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Replies to This Discussion

Permalink Reply by Trapdoor2 on November 24, 2024 at 4:50

I've got both #1 and #2 in my book. Should be playable by next October...

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Permalink Reply by Trapdoor2 on November 24, 2024 at 14:44

BTW, this jig also made its way into the Irish repertoire. They 'fixed' it by notating it in 6/8 and truncating it into a repetitive sequence. None of those crazy dots or triplets. They understand "Jig" means it has a dotted feel, no need to actually show that though...(and, of course, they argue about it too).

I understand the mental auto-correct but since I'm keying these things in, I like to have the math work out. The computer doesn't auto-correct. Grace notes like that come out as a smear...and my brain knows they should be articulated.

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Permalink Reply by Joel Hooks on November 24, 2024 at 17:43

Weird, had I known this I would have included it in my "old time" concert at the last Spring Rally. Now I will absolutely put it into rotation.

It seems that Billy Connelly might be the reason it is "traditional" and no doubt he got it from a BMG club or classic player. Who knows, but it is funny to read speculation and how far off they are.

I remember being very confused the first time I encountered the strict classifications of "Irish" music. My only knowledge of "jigs and reels" came from the early banjo tutors at that time, so those rules did not correspond to anything I knew.

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Permalink Reply by Trapdoor2 on November 24, 2024 at 19:19

"The Session" site notes the source as coming from "The Incredible String Band" first album, released in 1966. One of the original members, Clive Palmer, was a Classic fingerstyle banjoist. Here they are, direct from Youtube...