![]() This is the main bit I use to accompany my singing. Notes: "Country Blues," based on the playing of Dock Boggs. Genre: Traditional Style: Clawhammer and Old-Time Difficulty: Intermediate So follow the tab - particularly if you're playing it with other musicians. ![]() So the tab won't quite match John's playing at that point in the tune. He was also kind enough to advise me how to correct the small error. I contacted John who was kind enough to tell me that in his enthusiasm he had played through that part in 4/4. When tabbing I couldn't get that to work with John's melodic arrangement. The fourth bar of the B section of Clinch Mountain backstep changes time signature to 6/4. I think this tab is very close to a fret for fret transcription. It is packed from one end to the other with interesting licks and ideas, but remains true to the original tune. It starts with a down the neck arrangement, followed by melodic and up the neck arrangements, and closes out with two more down the neck arrangements. Visit John's BHO page to the video of him playing it. Notes: This is wonderful version of Clinch Mountain Backstep from the playing of John Apfelthaler. Genre: Bluegrass Style: Bluegrass (Scruggs) Tuning: Standard Open G (gDGBD) Difficulty: Expert If you don’t have a Keith tuner on your 4th string, you can just end it with a C note on the 2nd string 1st fret. ![]() Finally, in his Outro to the tune Keith used a Keith tuner on the 4th string to go from D to C. Note also that the Intro includes the banjo’s alternating between G7 and Ab Dim, whereas the backing instruments alternated between G7 and Ab7 throughout Part A of the tune. ![]() Note that in live performance Keith would start the tune with some appropriate noodling, and I have included a fragment in the tab. It is not a note-for-note copy of Keith’s version, but I did include a number of his nifty ideas, or at least my interpretation of them, that are worth examining. The tab is based on Keith’s arrangement, and it is mostly the way I have played Caravan for the last few decades. Notes: In memory of Bill Keith, whose recording of Duke Ellington’s Caravan on his 1976 album “Something Auld, Something Newgrass” introduced the tune to the world of bluegrass banjo and gob-smacked me when I first heard it. Posted by corcoran, updated: - 2 Member Comments The lessons start at a beginner level, but then progress through many of the complexities of the style, including hammer-ons, pull-offs, double thumbing, melodic licks and other techniques.Genre: Bluegrass Style: Bluegrass (Scruggs) Key: Cm Tuning: Standard Open G (gDGBD) Difficulty: Intermediate Each segment, taught by a master of the instrument, has been chosen to give learning players new techniques, tunes and musical insights. The eight lessons on this video represent clawhammer instruction at its very best. It has since become a uniquely American style, still current and exciting today, driving the beat along with fiddles, guitars, singers and dancers wherever people play traditional music. The rhythmic pulse and percussive sounds of old-time clawhammer banjo have been ringing through the hills and valleys of America since the instrument was brought to these shores from Africa in our earliest colonial days.
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