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On the recording, Alison really burns it up hence the MIDI is high-speed. His contributions to BHO have been very significant.
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Through the years Jack has been generous and accommodating in helping me to understand the subtleties of TablEdit and of musical notation in general, and I gratefully acknowledge his guidance here. And I want to thank Jack Baker for alerting me to the pitch change function. The actual notes played are shown in text above the appropriate section of tab. This is because I employed the pitch change function to achieve that sound (also, how would TablEdit depict detuning the second string from B to A - e.g., 0 to -2?). When examining the tab, you will be able to hear the note changes in the MIDI file - and you will need to listen to the MIDI, to hear the tune's melody - but these are not reflected in the frets indicated in the tab, which show the string going from 0 to 0. Girl’s Breakdown is one of her originals that makes good use of Keith/Scruggs tuners, hence her clever play on the title “Earl’s Breakdown.” The tune is on her wonderful 2000 recording “Fair Weather.” In addition to her progressive and jazz playing, Brown can rip off a straight-ahead bluegrass tune. Brown lived up to expectations, and in the process I discovered the delightful Michele Shocked. I first saw her in the 1990s when she was accompanist for Michele Shocked, and her reputation led me to a Michele Shocked concert in Victoria, B.C. Notes: Alison Brown is an incredible progressive banjo player, right up there with Bela and a few others. In my opinion this is one of the coolest effects in bluegrass banjo. Thus by playing the MIDI you can hear an approximation what it sounds like to achieve melody notes by detuning and retuning a string. In other words, the notes in the tab corresponding to the notes played with Keith tuners are placeholders, and I used the “change note” function to sound the relevant notes in the MIDI. So I have inserted text above each relevant portion of the tab to show what to do with the tuners (I did the same some time ago with “Girl’s Breakdown”).
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TablEdit includes no simple way to indicate retuning strings, as with Keith tuners. The third break is back down the neck and employs Keith/Scruggs tuners. The second break is up the neck and is mostly in the chordal style. The first break is down the neck and straightforward. Notes: Here is my arrangement of Bury Me Beneath the Willow. Posted by corcoran, updated: - 2 Member Comments However, you can also listen to the recording of Earl and Paul Warren, posted on the Media section of my BHO page. If I could play the fiddle I would have included the fiddle track instead. To put his backup in context, I have added a banjo track playing the melody, but it is muted so that you can hear the backup track more clearly. In the tablature I have tried to capture Earl’s backup, although I found it difficult to decipher his playing in the B Part. But it is vintage Scruggs-style backup and well worth listening to. The chords in his backup were minimal: In contrast to the usual structure, his A Part included only G and D chords, and his B Part was only in E minor. Notes: Some years ago, in wandering around the internet I discovered and downloaded a file entitled “Flatt & Scruggs, Live Shows 1956 - 1959.” One track was a fiddle/banjo duet on Blackberry Blossom, with Earl Scruggs playing backup to the fiddle. Genre: Bluegrass Style: Bluegrass (Scruggs) Key: G Tuning: Standard Open G (gDGBD) Difficulty: Expert