December 2018
Grandsons Justin and Nate
|
The bar hopping party bus
|
Catching the moment an oil rig explodes
in the Gulf off shore in Port Aransas
(or was it the sunrising behind the rig??)
February 2018
Our last stop of the Cruise
My first opportunity to get off the ship. My hip gave out 2 days prior to the cruise so I spent my time in a wheelchair for the duration. Can you still enjoy a Cruise in a wheelchair? Yup.... Is it the preferred way to go? Nope.... |
CELEBRITY REFLECTION
One fine vessel and a super crew. We'll be sailing on her again in January 2019 (sans the wheelchair) |
And after 2 additional months in the wheelchair after the cruise, waiting for the April 4th scheduled surgery to occur, things started out fairly well.
|
How your newly replaced hip joint looks after successful surgery.
|
How your hip joint looks after dislocating four and half weeks after surgery.
'Twas a rather 'uncomfortable' experience if you will--but had a wonderful response from neighbors, four bystanders, the Georgetown Sun City Fire-Rescue and EMTs, and the Emergency Room Docs, Nurses and staff in the Baylor Scott White, Emergency Room.
|
and naturally, since the above started in late January, I've yet to climb aboard either the Cushman Eagle or the Harley Sportster. Talk about the supreme sacrifice!
11 September 2017
Waiting for scooter parts from Bert.
Might as well go fishing!
No trophy, but a fun catch.
Might as well go fishing!
No trophy, but a fun catch.
1960 CUSHMAN EAGLE
My new(est) toy-- A 1960 Cushman Eagle motorscooter. I had one similar to this in the early 60s and had hundreds of hours of riding enjoyment from it, with a couple interruptions from a thrown rod, and a $20 ticket for loud pipes, which I got the old fashioned way, "I earned it!". Dad sold it when I went into the Navy. GREAT memories.
|
|
The Eagle. Purring like a kitten. Thanks Nick Gans.
and a test of my first imbedded video |
Gave her a new paint job (flat black-Denim).
and how she looks today.
and My other new passion--Riding with the Patriot Guard.
Scout Grandson Nathan leaving with me on a PGR Mission.
Nathan's second PGR Mission.
Standing the Flag Line on a HOT Texas morning.
On the Canal
|
Sunrise on the Canal
|
A few pics from our
Caribbean Cruise
May 2017
Caribbean Cruise
May 2017
|
I snagged this 1957 Harmony Archtone Tenor Guitar from the neighborhood a few months ago. Having fun learning to follow tunes in an interesting tenor tuning. and wouldn't you know it .......IT'S GONE. It now resides in New York state. |
|
|
|
Pretty much getting the Sportster personalized. LOTS of fun to ride.
|
What would be your reaction if the dowel rod on your Sweeney minstrel banjo kit looked like this? Check it out at the bottom of this page. |
|
I recently dropped off the '03 Softail Heritage Classic at the shop and came home with this "Chick Bike". ('14 XL1200C Sportster). (man does not live by Banjo alone) Great fun bike.
|
================================ and occasionally I stumble across
this link on YouTube.
Sure brings back memories of good friends, good music and good food.
What else would you expect from a Monday night in the Ozarks.
Sure enough, just as I work to divest myself of three banjos;
THIS SHOWS UP ON THE DOORSTEP!
THIS SHOWS UP ON THE DOORSTEP!
One cool Terry Bell Gourd Banjo in a Custom Case
by way of Tim Twiss.
by way of Tim Twiss.
Little Dixie Fiddling
Our Neighbors to the North
Our Neighbors to the North
|
|
|
The Little Rockers
Phil, Charlie, Tony and Me on the fantail of the USS Little Rock (CLG-4) 
Isla Mujeres
the Island |
Drummer Jamie
She still can play! 
Isla Mujeres The Center City (Island of Women) |
^An artifact from my Ozark existence. Justin and I loved that tractor.
================== My semi-fretless Washington (nee Slingerland) > Going on the "Block" soon! (early Jan 2017) |
|
Jamie, Me, Bill Conley and Justin
Missouri State University
Ozarks Celebration Festival
9/6/2014
I sometimes miss those Ozark sunrises.
On stage in Washington DC for Bob's National Heritage Award performance.
and you were never quite sure who might show up at the Monday night music party in McClurg.
(T,B & A)
on the shores of
Table Rock Lake
had many good times here
What other Ozark activities were there besides music?
With my 'Best Friend'
On the Riviera
Quintanna Roo
Mexico
BOB HOLT
|
|
and not to forget those Navy days.
What's going on with this dowel rod?
|
I commented to the builder (Terry Bell) that the dowel rod looked a little 'unusual' and here is Terry's response: That dowel is a little weird isn't it? I sight the line from the 3rd string slot with a string that goes from the slot through the very middle of the neck at the heel then to the tip of the dowel, and do it on purpose to offset the dowel itself. For some reason Boucher thought this was a good idea. I've never seen a close up of that area of the Sweeney banjo, but Boucher made his rim so the story goes. Here's a neat photo of an 1800's Boucher, they're all like this... An interesting feature to say the least. Anyone ever seen this before? And its nice to know that a builder would incorporate this feature in some of his banjos. |
|
Meet the newest
member of the
Minstrel Family
(Modified a Bit by me)
the Banjo Factory
Adjustable Head
Gourd Banjo
Now you see it/now you don't.
It's going to a new home in Tennessee
January 2017.
Was a fun project on a cool little gourd
that was also fun to play.
While two of the old
guard sit at the ready
on the sidelines.
1880s
Fairbanks Electric
2015
Bell Sweeney
Tackhead
and my Terry/Tim gourd from above
returns to the front line.
This is one fine sounding/playing
gourd banjo with the
smoothest tuning pegs on the planet.
MY TAKE ON THE STROKE/MINSTREL STYLE
DISCLAIMER: No expert here in the stroke/minstrel style by a long shot or not a learned student of the style, even a longer shot, BUT I have gained lots of information and some level of ability with this method (which is occasionally influenced by my clawhammer experience and personal take on the information) so will try to pass on a quick and basic understanding of some of that information and experience here.
First, the stroke repertoire of today was originally written in standard music notation in the 1850s-1880s. During this period there was no universally accepted standard for either the version of the tune or the method of note making so these variations that originally existed, exist today in how a particular individual interprets and plays a tune of choice. I dare to say though, that there is much more conformity in the stroke style today than has ever existed in what has become the clawhammer style we know it. No judgement here; just my perception and opinion. Purists (my term) who play stroke style today tend to stick to the ‘style’ I suppose, because the tunes are taken from the written music, whether this be in the standard notation or that notation transcribed into modern day tab. How about “ear learning” in stroke/minstrel style? I haven’t a clue so won’t say any more about that, although I have personally combined ear and eye learning in the process of transcribing a video into tab.
A quick note about how notes are made. Does it matter? In some case I believe it does in that the setup for the next note needs to be taken into consideration. Also, it may be that the originators, in addition to this, wanted a note to have a certain ‘sound’ and it was felt that one particular method (a strike or a “hammer stoke”; NOT a hammer on) gave the note what a slur didn’t. One of the rules on clawhammer I learned early on (and didn’t necessarily follow) was never make the same note on the same string more than one time. One tune I play (Largo Law) has the same note/same string/same finger five, count ‘em, fine times in the first three beats of a measure (although I occasionally use the first one as a thumb note reducing it to four). I should also add that the 5th string is quite often incorporated into the melody of the tune; not just played as a drone although there is also quite a bit of what we (clawers) would call double-thumbing too.
Before I go too far, I’m am going to re-stress a couple primary sources of information for what I’ve done so far. The Minstrel Banjo site and Tim Twiss, on both his own site and the Minstrel Banjo site, have provided tons of information and materials I’ve found to be indispensable . Lots and lots of other stuff out there too so I’ll leave that up to you if you are interested.
Back to the style. Below I’ll post a tune from Brigg’s 1855 Banjo Tutor De Bones In De Barn Yard so you can see what the standard notation looks like and then the transcribed tab by Rob MacKillop of the same tune titled De Bones In De Yard so you can see how the compare. I can play the tab quite well and have occasionally tried to read the standard notation while playing the tab to see if I can integrate the two and have found that I get into the first measure and lose it. Look at the placement of the fifth string on the staff. About as different as can be from tab. If I were 20 years younger I believe I’d tackle reading standard notation. As it is, tab is a wonderful thing as are those (such as Tim) who are doing the transcribing for us.
Here are a few of the terms associated with stroke style:
Strike, Half-Strike, Strike and a Half,
Slurred Notes, Double Strike, Triple,
Combination, Long Combination,
Hammer, Hammer Stroke, Movement, Pull
Refer to the Brigg’s Banjo Instructor of 1855 for an in-depth study of the stroke style (although in musical notation—not tab)
In regard to my stroke style tab of the Arkansas Traveler, choose what you wish to do with the tune. One thing I have found is that much of the style is in direct conflict with my clawhammer style so requires major additions to my present muscle memory store. I will post a copy of the introductory level of Brigg’s Movements from Rod MacKillop’s 2010 Tab version of the Brigg’s Solo Banjo Music 1855 for you go give a look and try at. Although this fine book is copyrighted, it was made available at no cost on the internet a couple years ago so I am assuming I am breaking no copywrite laws by posting the movements tab as well as the Bones tab. If I am in violation, someone let me know and I’ll make alterations. I will though, recommend HIGHLY, Tim’s Early Banjo books, any edition, as a wonderful introduction to the world of stroke/minstrel banjo—not to exclude any other books out there but just based on my experience with Tim’s stuff. (there is no financial consideration from my recommendation for Tim’s work--BUT my wife may disagree with this after my expenditures for books, cds, and even the beautiful gourd banjo--pictured above--I bought from him).
New comments are posted below as I see/remember them.
First, the stroke repertoire of today was originally written in standard music notation in the 1850s-1880s. During this period there was no universally accepted standard for either the version of the tune or the method of note making so these variations that originally existed, exist today in how a particular individual interprets and plays a tune of choice. I dare to say though, that there is much more conformity in the stroke style today than has ever existed in what has become the clawhammer style we know it. No judgement here; just my perception and opinion. Purists (my term) who play stroke style today tend to stick to the ‘style’ I suppose, because the tunes are taken from the written music, whether this be in the standard notation or that notation transcribed into modern day tab. How about “ear learning” in stroke/minstrel style? I haven’t a clue so won’t say any more about that, although I have personally combined ear and eye learning in the process of transcribing a video into tab.
A quick note about how notes are made. Does it matter? In some case I believe it does in that the setup for the next note needs to be taken into consideration. Also, it may be that the originators, in addition to this, wanted a note to have a certain ‘sound’ and it was felt that one particular method (a strike or a “hammer stoke”; NOT a hammer on) gave the note what a slur didn’t. One of the rules on clawhammer I learned early on (and didn’t necessarily follow) was never make the same note on the same string more than one time. One tune I play (Largo Law) has the same note/same string/same finger five, count ‘em, fine times in the first three beats of a measure (although I occasionally use the first one as a thumb note reducing it to four). I should also add that the 5th string is quite often incorporated into the melody of the tune; not just played as a drone although there is also quite a bit of what we (clawers) would call double-thumbing too.
Before I go too far, I’m am going to re-stress a couple primary sources of information for what I’ve done so far. The Minstrel Banjo site and Tim Twiss, on both his own site and the Minstrel Banjo site, have provided tons of information and materials I’ve found to be indispensable . Lots and lots of other stuff out there too so I’ll leave that up to you if you are interested.
Back to the style. Below I’ll post a tune from Brigg’s 1855 Banjo Tutor De Bones In De Barn Yard so you can see what the standard notation looks like and then the transcribed tab by Rob MacKillop of the same tune titled De Bones In De Yard so you can see how the compare. I can play the tab quite well and have occasionally tried to read the standard notation while playing the tab to see if I can integrate the two and have found that I get into the first measure and lose it. Look at the placement of the fifth string on the staff. About as different as can be from tab. If I were 20 years younger I believe I’d tackle reading standard notation. As it is, tab is a wonderful thing as are those (such as Tim) who are doing the transcribing for us.
Here are a few of the terms associated with stroke style:
Strike, Half-Strike, Strike and a Half,
Slurred Notes, Double Strike, Triple,
Combination, Long Combination,
Hammer, Hammer Stroke, Movement, Pull
Refer to the Brigg’s Banjo Instructor of 1855 for an in-depth study of the stroke style (although in musical notation—not tab)
In regard to my stroke style tab of the Arkansas Traveler, choose what you wish to do with the tune. One thing I have found is that much of the style is in direct conflict with my clawhammer style so requires major additions to my present muscle memory store. I will post a copy of the introductory level of Brigg’s Movements from Rod MacKillop’s 2010 Tab version of the Brigg’s Solo Banjo Music 1855 for you go give a look and try at. Although this fine book is copyrighted, it was made available at no cost on the internet a couple years ago so I am assuming I am breaking no copywrite laws by posting the movements tab as well as the Bones tab. If I am in violation, someone let me know and I’ll make alterations. I will though, recommend HIGHLY, Tim’s Early Banjo books, any edition, as a wonderful introduction to the world of stroke/minstrel banjo—not to exclude any other books out there but just based on my experience with Tim’s stuff. (there is no financial consideration from my recommendation for Tim’s work--BUT my wife may disagree with this after my expenditures for books, cds, and even the beautiful gourd banjo--pictured above--I bought from him).
New comments are posted below as I see/remember them.
ADDITIONAL NOTES
1:00 pm 12/3/16--Seems I may have indicated a slur (pull off) in the first/fifth measures, 2nd note, in the ArkTravlr tab. Seems to me after studying the 'right way' video he is making that note with strike. Makes sense to me. I tried a strike for the 2nd note in the 4th measure which is shown as a slur and believe that a strike does not work here. I'll play a strike in the 1st measure and a slur in the 4th.
7:00am 12/4/16--The style often incorportates syncopation in tunes, as in the 'right way' video, and uses copious amount of triplets, again in the video (which are really fun to play once you get the muscle memory working).
7:00am 12/4/16--The style often incorportates syncopation in tunes, as in the 'right way' video, and uses copious amount of triplets, again in the video (which are really fun to play once you get the muscle memory working).
