Doc's and Liebert's musical mentor was the African-American fiddler Owen Walker who was born in 1857, and taught Roberts most of his tunes. In order to share more easily with others, I play it as AABBCC.Ī brief bio of Doc Roberts compiled from the internet (Wikipedia and other sources)ĭock Philipine Roberts was born in 1898 near Kirksville, Madison County, and learned to play the fiddle at an early age with some help from his older brother Liebert. One of the charms of Doc’s fiddle version, is how the tune wanders in no obvious pattern (at least to me) between what I am labeling the A, B, and C parts. I suppose it became jealous of my time on the banjo, so slyly crept into my clawhammer fingers, where it sits now as a banjo favorite. But of course, it kept coming back, insisting that I give it the attention it deserved, so that now it lays curled up comfortably at the fire amongst the other familiar G tunes. I would dust it off from time to time, but really did not fully commit to it, in part because I didn’t feel fully confident in my fiddling. Eventually I was able to eke out a fair approximation of The Cat. He infuses his rich repertoire of tunes with a distinct bluesy sound characterized by powerful, yet smooth bowing and remarkably clear intonation.įirst, I learned to play this tune on the fiddle. Notes: “And the Cat Came Back The Very Next Day”, from Doc Roberts: I have long been an admirer of Doc’s fiddling. Genre: Old Time Style: Clawhammer and Old-Time Key: G Tuning: Standard Open G (gDGBD) Difficulty: Expert Write 2 on the first string on the “pa”Ĥ. Write 0 (fret 2) on the first string on the “bum”ģ. The alternate hammer on is in the same way.
SUSTAIN IN TABLEDIT PDF
Or if you make a pdf of it, the will not be shown. And it will not be sounded on the midi file (all ppp notes are silent). Now it is shown as 0 in TablEdit but when you print the tab the will not be printed. Write 0 on the first string on the “pa”Ĥ. Write 2 (fret 2) on the first string on the “bum”ģ. In this example I am referring to the banjo rhythm as “bum-pa-di-ty”Īlternate pull off (example first string) is indicated by making a fake fretted note:ġ.
SUSTAIN IN TABLEDIT HOW TO
Notes: I posted this example to demonstrate how to make alternate string pull off and alternate string hammer on in TablEdit which are common techniques used in clawhammer playing. Posted by janolov, updated: - 1 Member Comments
Genre: Old Time Style: Clawhammer and Old-Time Key: G Tuning: Standard Open G (gDGBD) Difficulty: Beginner When I heard this in 1963 or 1964, I realized that Bill Keith had opened new horizons on the banjo.Īlternate string pull off and hammer on demonstrat Compare Keith’s version to Scruggs’s in the tab, and you will get my drift. Keith took one of Scruggs’s standard licks, employing a forward-backward roll with a pull-off on the third string, and threw in a subtle twist by pulling off to the fifth string and pivoting to the open third. Here is one simple example that says it all, the first few measures of the first break in the song “Livin’ on the Mountain,” from Keith and Rooney’s album of the same name. Notes: In addition to creating melodic style, IMHO in parallel to and independently of Carroll Best and Bobby Thompson, Bill Keith introduced to basic Scruggs style layers of elegance, complexity, and subtlety that had not been heard before he appeared on the stage. Posted by corcoran, updated: - 3 Member Comments Genre: Bluegrass Style: Bluegrass (Scruggs) Key: G Tuning: Standard Open G (gDGBD) Difficulty: Intermediate
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