BackupTraxOldTimeFiddleT_A4

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Thank you for choosing a Mel Bay eBook Thank you for choosing a Mel Bay eBook .. Your purchase includes additional media and can be downloaded from our web site at: Your purchase includes additional media and can be downloaded from our web site at: http://www.melbay.com/20100CDBEB

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From the ““DownloadsDownloads”” tab please select tab please select ““Download ExtrasDownload Extras”” button. button.

If file download box pops up, select “Save” button.

If file download box pops up, select “Save” button. The download time will vary from product toThe download time will vary from product to product. If possible use a high speed internet connection such as DSL or Cable for quickest product. If possible use a high speed internet connection such as DSL or Cable for quickest

downloads. downloads.

Unzip the downloaded file.

Unzip the downloaded file. In Windows sysIn Windows systems you can right click ttems you can right click the file and choose Extracthe file and choose Extract All. For Mac double click to extract the zip file.

All. For Mac double click to extract the zip file.

Audio files are in MP3 format. Inserts are in PDF format. Audio files are in MP3 format. Inserts are in PDF format.

Mel Bay Presents

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Mel Bay Presents

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ELLO

BY

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IXIX

B

RUCERUCE

Cello parts arranged and performed by Renata Bratt

1 2 3 4 5 6 7 8 9 0

No part of this publication may be reproduced in whole or in part, or stored in a retrieval system,

or transmitted in any form or by any means, electronic, mechanical, photocopy, recording, or

otherwise, without written permission of the publisher.

Learn melodies and practice soloing on fourteen of the

most popular old time and fiddle tunes:

T

empe

rance

Reel,

Sally Goodin, Blackberry Blossom, Over the Waves,

Beaumo

nt Rag, Red-Ha

ired Boy

, June Apple, Salty Dog,

The Wayf

ar

ing

Strang

er

,

Ark

ansas T

raveler

,

Soldi

er’s Joy

,

Billy in the Lowground,

and

Old Joe Clark.

Play along with a great string band rhythm section:

gui-tar

tar

, mandolin and

string bass. The split-track companion

CD contains all of the tunes in

the book at slow and regu-

the book at slow and

regu-lar speeds and allows you to he

lar speeds and allows you to he

ar just rhythm, just lead,

or both. Great for

ANYANY

_{bass clef instrument.}

W

e

’

ll jam all night long!

MB20100BK

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Book and CD Play-along Set!

Let us be YOUR band! We

’

ll Jam All Night Long!

• Play along with a great old time/bluegrass rhythm section: guitar, bass, and

mandolin. Turn it on, play along, and you’ve got the makings of a dynamite jam session!

• You play all the leads —the band backs you up. Learn melodies and practice

soloing on fourteen of the most popular old time and fiddle tunes in many different major and minor keys.

•Learn the best way, the fun way— by doing. Repeat a tune or passage as many

times as you wish. We never get tired and WE’LL JAM ALL NIGHT LONG!

• Beginners and Intermediate players can practice basic skills. Advanced

players can hone their improvisation chops.

• Everyone learns at his or her own individual pace.

• Melodies are first presented on the recording at a slow speed with guitar

accompaniment only, then repeated at regular speed with the band. Finally, the band plays several choruses while you play all the leads.

• Repeat songs at slow or regular speed as many times as you wish, perfecting

phrases, melodies and solos in a band context.

• Split-track recording allows you to hear either just melody from one

speaker, just the rhythm section from the other, or both for maximum flexibility and specific study, while reading melodies from the book.

Potential for improvement is unlimited.

The band never gets tired. We’ll jam all night long!

Comments on BackUp TRAX:

“…Superb, a must for every student’s library…Allows the student to learn with a professional rhythm section, experiment with as many soloing ideas as he or she can muster, and most importantly, develop the art of improvisation while enjoying every moment of his or her practice session. I wholeheartedly recommend this to all of my students…”

(Elvo D’Amante: Music educator, Laney College, Oakland, CA.) “What a fantastic job! The recording allows me to play while repeating,

stopping, getting lost — no live band or teacher would put up with that. If players could hear your tape just once, you’d sell a million copies!” (J. R. - Pensacola, FL)

“…beautifully packaged, equally valuable for both aspiring and experienced jazz musicians.” (Floyd Levin - Jersey Jazz)

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T

ABLE OF

C

ONTENTS

CD Contents: ... 4

How to Use BackUp TRAX ... 5

Forward to BackUp TRAX ... 6

BackUp TRAX: Old Time & Fiddle Tunes for Cello ... 8

Temperance Reel ... 9

Sally Goodin ... 10

Blackberry Blossom ... 11

Over the Waves ... 12

Beaumont Rag ... 13

Red-Haired Boy... 14

Black Mountain Rag ... 15

June Apple ... 16

Salty Dog ... 17

Wayfaring Stranger ... 18

Arkansas Traveler ... 19

Soldier’s Joy ... 20

Billy in the Lowground ... 21

Old Joe Clark ... 22

Random Notes ... 23

Discography ... 25

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1. Introduction :32 2. Tuning :24

3. Temperance Reel (slow) 1:00 4. Temperance Reel (excerpt) :46 5. Temperance Reel (with band) 2:38 6. Sally Goodin (slow) 1:22

7. Sally Goodin (excerpt) :29 8. Sally Goodin (with band) 2:33 9. Blackberry Blossom (slow) 1:34 10. Blackberry Blossom (excerpt) :46

11. Blackberry Blossom (w/ band) 2:37 12. Over the Waves (slow) 3:02

13. Over the Waves (excerpt) 1:20 14. Over the Waves (with band) 2:30 15. Beaumont Rag (slow) 2:08

16. Beaumont Rag (excerpt) :47 17. Beaumont Rag (with band) 2:36 18. Red-Haired Boy (slow) :56

19. Red-Haired Boy (excerpt) :46 20. Red-Haired Boy (with band) 2:36 21. Black Mountain Rag (slow) 2:12 22. Black Mountain Rag (excerpt) :42 23. Black Mountain Rag (w/band) 2:26

24. June Apple (slow) :58 25. June Apple (excerpt) :43 26. June Apple (with band) 2:29 27. Salty Dog (slow) 1:34

28. Salty Dog (excerpt) :26 29. Salty Dog (with band) 2:18 30. Wayfaring Stranger (slow) 2:38 31. Wayfaring Stranger (ex) 1:08

32. Wayfaring Stranger (w/band) 3:09 33. Arkansas Traveler (slow) 1:34 34. Arkansas Traveler (excerpt) :44 35. Arkansas Traveler (w/band) 2:32 36. Soldier’s Joy (slow) 1:08

37. Soldier’s Joy (excerpt) :50 38. Soldier’s Joy (with band) 2:36 39. Billy in the Lowground (slow) :58 40. Billy in the Lowground (ex) :44

41. Billy in the Lowground (with band) 2:32

42. Old Joe Clark (slow) :55 43. Old Joe Clark (excerpt) :46 44. Old Joe Clark (with band) 2:26 45. Preview of other BackUp Trax 2:09

CD C

ONTENTS

:

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ere’s how BackUp TRAX work: You play along with the recording, read the music, and learn melodies and solos to some of the most popular tunes in the

Blues, Traditional, Jazz/Dixieland, Early Jazz & Hot Tunes, Old Time and Fiddle Tunes, or Swing & Jazz repertoire. Then practice improvising and soloing!

• First, you’ll hear a tune’s melody with just guitar backup, at a speed slow enough for beginners.

• Next, you’ll hear the melody once again, this time with the whole band, at regular speed.

• After that, the band plays several choruses of the tune while yousupply the melody or solo! Split-track stereo recording allows you to hear just lead, just rhythm, or both so you can isolate parts for specific study. Repeat a song at either speed as many times as you wish, perfecting phrases, melodies and solos in a band context without tiring your backup

musicians. Beginners can practice basic skills while more advanced players can hone their improvisation chops, each at his or her own individual learning rate. Potential for im-provement is unlimited. You’ll be amazed at your progress when you regularly jam with

BackUp TRAX. It’s just like playing with a band and you’re the star soloist.

Let us be YOUR band, we’ll jam all night long!

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When I was first learning to play leads on the guitar, an older and wiser musician friend sug-gested that I practice with taped rhythm sections. The idea was to record myself on rhythm guitar, then listen to the track and play along. That way I could hear the chords, practice playing over them in the context of the song’s form, and repeat what-ever I was working on until I’d perfected it. It was almost as good as playing with a live band and of-fered the opportunity of infinite repetition as I honed this lick or that solo, all without wearing out my musical welcome with my friends! For the past twenty years I have included rhythm track playing in my daily practice routine.

To say that it helped me enormously would be an understatement. My melodies and solos got bet-ter—cleaner, and more focused. As I practiced so-los or licks hundreds of times, my timing and rhythm playing improved. I owe a great deal of my playing ability to this type of practice.

Because of my positive experiences with practice tapes, I decided to round up some of the best musicians in the San Francisco Bay Area, capture grooves to the most popular tunes and progressions of different genres on tape, and let you play along. BackUp TRAX are the result. BackUp TRAX give musicians a rhythm section to play along with and rehearse melodies, solos, licks, and rhythm play-ing. BackUp TRAX offer the advantage of infinite repetition; you can work on a tune, solo, or passage for hours, perfecting it without wearing out your fellow players. The opportunities to advance your reading and improvising skills while expanding your repertoire are unlimited.

Each BackUp TRAX set comes with a book of melodies, chord charts, playing tips, and a stereo CD for you to listen to and play along. Melodies to each of the tunes are recorded at about half speed with just piano or guitar accompaniment so you can study the tune at a slow tempo before playing it at regular speed with the full band. This is followed by a regular speed, full-band version of the same tune where you supply all of the leads. Instruments are isolated and panned to the right or le ft stereo channel for maximum flexibility. By adjusting the balance control on your stereo amplifier you can hear:1) the full band with melodies, 2) basic rhythm with melodies, or 3) just basic rhythm. Tones for tuning are provided at the beginning of each recording. Turn it on, play along, and you’ve got the makings of dynamite jam session. You learn the best way, the fun way-by doing, and, we’ll jam all night long!

So have fun, good luck, and happy playing!

— Dix Bruce

F

OREWORD TO

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P h o to o f D ix B ru ce b y R o b T h o m a s

Dix Bruce is a musician and writer from the San Francisco Bay Area. He has produced over twenty-five music instruction books, compact discs, and videos for Mel Bay Publications. He performs and records with several groups in the San Francisco Bay Area including a guitar duo with Jim Nunally and The Royal Society Jazz Orchestra, a ten-piece big band which performs jazz from the 1920s and 1930s. He has been a frequent contributor to FRETS, Fretted Instrument Guild of America magazine, Acous-tic Guitar, Flatpicking Guitar, Acousmagazine, Acous-tic Musician, and other publications.

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R

ENATA

B

RATT

Cellist and clinician Renata Bratt is president of the International Association for Jazz Education String Caucus where, together with Darol Anger and Martin Norgaard, she has served as a Resource Team Leader. She is also a member of the American String Teachers Association/Na-tional School Orchestra Association Alter-native Style Festival and Awards Commit-tee. She writes articles on improvisation for ASTA and the American Suzuki Journal and is a former president of the Suzuki Music Association of California. In addition to concertizing with various classical, jazz, and fiddle groups, Ms. Bratt has performed as a backup musician for such luminaries as Jimmy Page and Robert Plant, David Sanborn, Lyle Lovett, and Dionne Warwick. Rolling Stone magazine dubbed her an “ace performer” for her recording and touring work with alternative rocker Cindy Lee Berryhill’s Garage Orchestra. Ms. Bratt received her Ph.D. in Music from the University of California at San Diego.

Ms. Bratt gratefully acknowledges the assistance of Darol Anger in the preparation of the cello versions of these tunes in this volume.

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I

NTRODUCTION TO

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ELLO

Welcome to the Cello edition of BackUp TRAX: Old Time & Fiddle Tunes, fourteen fiddle tunes carefully chosen to represent a variety of keys and types of tunes. All are standards played virtually whenever bluegrass, country, and old time musicians gather. Learn this repertoire and you‘ll have a great introduction to fiddle tunes.

The melodies and chord progressions to all the tunes on the following pages are in-cluded on the CD at both regular and slow speeds. Familiarize yourself with the tunes by listen-ing and readlisten-ing before you try playlisten-ing along.

Memorize the given melodies while playing along with the slow version of the tune. Once you can play the melodies, make up your own solos. Again, work with the slow version until you

feel comfortable with what you’re playing. Only then should you move on to the regular-speed versions.

The best overall advice I can offer is to listen and play. Simple as that. It’s very important to hear what other players do with these tunes and to try your own version of what they do. Don’t just listen to players of your particular instrument; check out others, too. Be curious enough to listen to how your favorite musicians play a lick or passage until you figure it out—a hundred times if necessary. Learn to sing what you’re trying to play, even if you have a lousy voice. Look for new ideas and input constantly and try to make them a part of your playing. Most

of all, remember that music is supposed to be fun, for both players and listeners. When it ain’t fun, something’s wrong!

The versions of the tunes presented here generally reflect my own eclectic approach to the music. My aim is not to present “the” version of any given tune, but “a” version to get you started working on your own. Renata Bratt, with suggestions from fiddle ace Darol Anger, made some changes to my original versions to better adapt them to the cello. So, don’t feel bound by these versions. Play alternate melodies and, most importantly, make up your own solos and versions of the tunes. I urge you to look up other sources of the tunes, learn what you can, and

allow your own personal approach to evolve. The reference list at the end of this book will help. Don’t forget to practice playing rhythm along with us. Make up your own rhythm riffs and work them in. A fine rhythmic sense is probably the most important quality in a good musician. The original rhythm sections for BackUp TRAX: Old Time and Fiddle Tunes were recorded to tape in my office in about 1985 with whatever equipment we could lay our hands on. Com-pared to the digital technologies available these days, our methods and equipment were quite crude. We did the best we could with what we had, though sonic limitations are evident on the original source material. The players on this recording are Bob Alekno, mandolin; Markie Sand-ers, bass; Renata Bratt on cello; and myself on guitar.

For more information on my books, CDs and videos, including all the other BackUP TRAX sets ( Swing & Jazz, Basic Blues, Traditional Jazz & Dixieland, and Early Jazz ) visit our website:

www.musixnow.com. If you have any comments, suggestions, or questions about BackUP TRAX, please drop me a line c/o MUSIX, PO. Box 231005, Pleasant Hill, CA 94523. You can also e-mail me: Dix@ musixnow.com

We’ll jam all night long!

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I’d like to know the story behind this title since I know very few temperant fiddlers. I do know a great many temperamental fiddlers. I often use triplets when I solo, as in the pickup measure. The triplets give it a real Irish flavor. Key of G. (CD tracks 3-5)

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A princess among, no, the queen of fiddle tunes and a hands-down favorite among players and listeners alike. Fiddlers play Sally Goodin by the hour. I think the main reason is the tune’s simple chord progression; almost everything is played over an A chord. This offers great possibilities for improvisation. If you keep your wits about you to any degree, it’s almost hard to mess up. (I said almost!) Remember to keep the melody in the forefront as you make up your own versions. Some players add a minor six or Fsm chord here and there to break up the major sound of the tune. Give it a try. Key of A. (CD tracks 6-8)

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This is one of the prettiest fiddle tunes yet. Its descending melody is catchy and the bridge offers a modulation to E minor. This is not to say that it’s easy to solo over. Like the bridge of Arkansas Traveler , there are lots of chord changes. Remember to stick to them in your solo work and to preserve the essence of the melody. Learn the melody in as many positions and octaves as your instrument allows (on your head, standing on one foot, etc.). Then change a note or two here and there while maintaining the original flow. I’ ve listed some possible variations below.

The last two measures of each part are great points for adding your own licks. Most players tend to restate the melody in the early measures and then improvise. That way melodic content is preserved while the new licks provide interesting change and con-trast. The licks shown are fairly generic and will work with many other tunes. Try substi-tuting end licks from other tunes and improvise a few of your own. Write them down in a bound music notebook so you’ll have an easy reference. Key of G. (CD tracks 9-11)

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What the world needs now is more waltzes like Over the Waves! Nice melody, nice chords, good 3/4 feel. Working in the key of Bf will get you out of the sharp-key doldrums. You’ll also get a crack at some minor and diminished chords. Key of Bf. (CD tracks 12-14)

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Variations: C7

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B

EAUMONT

R

AG

Another of my favorites. Hearing a master like Benny Thomasson or Mark O’Connor hold forth and testify on this tune is something to behold. For the most part it’s very simple, but watch out beginning in the thirteenth measure. Lots of extra chords and a I-VI-II-V passage. (Check out BackUp TRAX: Swing & Jazz for more information.) Key of F. (CD tracks 15-17)

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This one has a lot of the Irish in it and is often called The Little Beggarman. It also has a slightly less common chord change to the flat seven chord, in this case the G. The A major scale has no G natural note in it, so what we’re doing here is modulating down to the key of G for one measure. Tunes like Red-Haired Boy, Old Joe Clark, and June Apple are often referred to as “modal” tunes. Make sure you don’t play a Gs note, which is the natural seven in the key of A, against the G chord! That harmony might be a bit modern for this music. For more information on modality, consult a good music-theory text. Key of A. (CD tracks 20-22)

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LACK

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OUNTAIN

R

AG

I know Black Mountain Rag primarily from Doc Watson. He plays it with great taste, tone, and skill — just tears it up. For years I avoided learning it, thinking I could never measure up to Doc’s version. Still, everywhere I played, people wanted to hear and pick it and I didn’t know the tune. When I finally learned it I discovered why it’s so popular — it’s great fun to play! Of course Doc’s version is still the best to my ears.

The substitute licks can be played in the first part, and you ’ll notice that they ’re different thematically from the melody. Try inverting the melodic moves; if they as-cend, try descending, and vice versa. Key of A. (CD tracks 21-23)

(36)

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PPLE

Here’s another pretty song with a flat seven change. Notice that it’s written out in a key signature with only two sharps (D). This might seem odd since the tune is in the key of A. Actually that’s not quite the whole story. It turns out that June Apple is really in the A Mixolydian mode, which comes from the key of D and the fifth mode of the D scale. (I threw this in as kind of a “party fact.” Next time you’re trying to impress someone at a party, try casually mentioning, “Did you know …” ) Key of A. (CD tracks 24-26)

(38)

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Variations: E7

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ALTY

D

OG

Salty Dog is quite simply a I-VI-II-V tune throughout. It’s similar to tunes like Sweet Georgia Brown or the bridge to I’ve Got Rhythm. It’s lots of fun to play. The licks below are dominant 7 licks and when transcribed will work on any dominant 7 chord in this tune (E7, A7, or D7) or other tunes.

Players love cycle tunes because they ’re so interesting to solo over. At the same time it’s relatively easy to get a handle on the changes. You can start with just two or three licks, like those below, and fit them in over the entire cycle passage. By slightly changing these licks you can invent new ones. Try playing them backwards; try invert-ing them. Make sure you learn them in all positions and keys.

Certain conventions in music have evolved and are repeated over and over again. It makes sense since, after all, there are only a certain limited number of notes, scales, and chords. We all have the same ears: It turns out that lots of us find the same combi-nations pleasing. It’s interesting how popular I-VI-II-V progressions are. There are thou-sands of folk, popular, and jazz tunes with progressions that move this way. Key of G. (CD tracks 27-29)

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AYFARING

S

TRANGER

The old time repertoire is rich in pretty ballads although players tend to gravitate toward the hot and fast. Wayfaring Stranger is one of these beautiful tunes though it’s probably not a fiddle tune in the strict sense of the term. The melody and chords give it a haunting, though always beautiful, quality. Listen to the difference in treatment between the Emmy Lou Harris, Benny Thomasson, Tony Rice, David Grisman, and Dorsey Harvey versions.

One approach to soloing on this tune might be to restate the basic melody but substitute licks for the many whole-note/quarter-note combinations as in measures two and three, four and five, six and seven, etc. Check out the licks below. Try also inverting the melody as a solo. Where the melody goes up, have the solo go down. Keep the same shape, just invert it. Key of Gm. (CD tracks 30-32)

(42)

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Arkansas Traveler is a straightforward old-time fiddle tune. After you learn the melody, try substituting different licks in the seventh and eighth measures of the first and second parts. You’ll recognize the given licks as generic ending licks. As such you can transpose and transfer them to hundreds of other fiddle tunes. I’ ve listed two tags below. Of course you’ll need to tastefully connect them to whatever else comes before or after.

The second part of Arkansas Traveler is more difficult to solo over than it might seem at first glance. Look at all those chord changes! When you solo you need to hit them all, and that’s not easy. If you have trouble, start soloing with half or quarter notes, then work up to eighth notes. Scales, chord tones, and arpeggios will be a great help. Don’t lose the flow and melodic feel. Key of D. (CD tracks 33-35)

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I can’t remember who showed me this tune, but it was a long time ago! I do re-member being pinned to the wall by the Clarence White and David Grisman version from the CD Muleskinner . Talk about fast! Old-time musicians take a slower approach to the tune. I’m somewhere in the middle but often play it with a Latin feel, almost reggae. (See: Tuxedo Blues CD by Dix Bruce) Sure it’s hokum, but I like it.

On the play along CD you’ll hear a fiddle-esque set of beats as an intro to Soldier’s Joy. It’s sort of a convention among fiddlers on fiddle tunes. Instead of referring to

them as “beats,” though, fiddlers will tell fellow musicians that the tune begins with “eight potatoes.” What that really means is “I’m going to saw back and forth for about eight counts.” Beats...beets...potatoes. Get it? Those fiddlers are a clever bunch of stink-ers, ain’t they? Key of D. (CD tracks 36-38)

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I’ ve always heard that this tune’s title has something to do with William the Con-queror in Holland. I wouldn’t know for sure since I was looking out the window that day in history class. (Was it 1215 or 1066? I still worry that I might have to figure a logarithm someday! ) Key of C. (CD tracks 39-41)

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Another of my favorites, and I love to play it fast. I included a version in my Mando-lin Harmonics book. Don’t miss the flat-seven change in the second part. Key of A. (CD tracks 42-44)