Blog

50 Years Ago in the VFSS: Barry Hall

Barry Hall grew up in what was then called the [Vancouver] Folk Song Circle during the 1960s, first attending at an early age and wowing everyone with his prodigious talent on banjo. In 1964, he was asked to record an album for highly respected Folkways Records (now Smithsonian Folkways). As you can see from the album photo, he was still incredibly young at the time. According to the Folkways website, this was Hall’s only commercial recording.

The VFSS audio archives include a number of live recordings of Barry Hall, including these two blistering instrumentals recorded on October 21, 1970. The first one seems to be identified as “Mason’s Apron.” The title of the second one is not provided.

This blog is intended to initiate dialogue on this topic. I know that there are others in the Folk who know much more about Barry Hall than I do and I would welcome shared reminiscences and information in the comments.

The Cat Came Back — 12 Jan

Here is an old tune that should be good practice for beginner and intermediate pickers. (33) Harry S. Miller – The Cat Came Back – YouTube. This version fits the riff that Thomas describes in his recent post.

Another version by Cisco Huston (33) Cisco Houston – “The Cat Came Back” – YouTube has the melody I remember .

How many ways can we play the cat came back? If you have a favorite version post the link in the comments. We do the usual song circle when were done with the cat.

White Christmas

 
 
 
 

 A       3    2  0 2   Bm    F#6   9  
 I'm dream  ing of a   white Christmas
  
 D     4    5   E7   10 9    7  A
 Just like the ones   I used to know
  
        0    2   2    F#7    0   D        Dm7
 Where the treetops glisten and children listen
  
 
    A    3       2    0   2  Bm      E7  3 2 0
 To hear sleigh bells in the snow
  
  
  
 A       3    2  0  2   Bm    F#6   9  
 I'm dream   ing of a   white Christmas
  
 D    4   5   E7   10  9    7  A
 With every  Christmas card I write
  
                              D7/D
 May your days be merry and bright
  
         A        D     E7       A
 And may all your Christmases be white 

This arrangement in 4/4 time has the melody mostly on the top two strings. The numbers are the fret numbers of the melody on either the b or e strings.  The E7 chord is usually played on the 7th fret 779797 except for the last line in each verse where it is the usual E7 in first position.

Pickers Circle Dec 23rd

Theme: Songs for Christmas

It’s holiday season and Thomas has generously provided us with material we can work on all year long.

Notes for Silent Night

This is a simple arrangement of “Silent Night” which is a good place to start if you have never done an instrumental before. It is at the beginner level, but is starting to get close to intermediate folk guitar. I’ll play it and answer questions on Wednesday, but in the meantime, you can start working from the tabulature. It is in the key of G, and although you might not recognize it, you will be in the G chord most of the song. Even if you have just been playing for a few months, if you are familiar with the G, C, and D chords, this arrangement might require a bit of work, but you will be able to manage it, and you could easily have it ready to go by Christmas day.

Right hand

      In this arrangement, the underlined notes are the melody notes, and should all be played with the thumb. Play it through a few times playing just the melody notes, and let your memory give you the timing, until you can hear the melody that you are playing. The other notes are played with the index and middle fingers, eg in the first measure, the thumb plays the first (melody) note which is on the 4th string, the index finger plays the note on the third string, and the middle finger plays the note on the second string. (If you have never done fingerpicking at all, the thumb strikes the string downward, and the fingers strike the string upward. Just play the first three notes over and over until it starts to feel natural, then play the first two measures until you recognize the melody coming out.) Notice that nowhere do you play two notes at a time (please ignore the smudge under the 3rd note, 2nd measure) , so in this sense, it’a easier than, say, Freight Train. Notice, also, that there are 6 notes in every measure, thus, the counting is simply “1 & 2 & 3 & “ all the way through, which gives you a nice, smooth 3/4 time. Once you start playing all of the notes, consciously play the melody notes as loud as possible , and the other notes somewhat quieter, to keep them in the background, just supplying the rhythm. You can cut back on the volume of the melody notes once you have a good separation between the melody notes and the rhythm (background) notes.

Left hand

     For the most part, the left hand is quite easy. Notice all of the 0’s. That’s where you’re playing an open string, and not using the left hand at all. Except for the C chord in the 3rd and 4th lines, the whole song can be played in the second position. This means that your first finger will be on the second fret, your second finger might be on the third fret, etc. The 5th and 6th measures are in a D chord, which you are probably used to playing with 3 fingers. In this case, it’s better to bar the first 3 strings with the first finger and use the 2nd finger on the 3rd fret 2nd string. To get from the D chord to the G chord in the 7th measure, just move your second finger over to the first string. In the 17th and 18th measures, you want to use the 3-string bar D chord again so that your 4th finger can reach the 5th fret without too much difficulty. These two measures are the most difficult, so work on them separately. In the 19th measure, which is a G chord, the only finger you are using is your 2nd finger on the first string, so for measure 20, add your first finger on the second string and your 3rd finger on the 3rd string. From here, you’re on the home stretch, which is easy.

Ps: If you haven’t read guitar tabulature before, the six lines represent the 6 strings of the guitar, and the numbers show which fret you play that string on. Eg, form a D chord, then look at the 5th measure in the tabulature. Your left hand is now ready to play the 5th measure. Read across from left to right, as you would with standard music notation or when reading a book.

Notes for “What Child is This/Greensleeves”

     This arrangement  is in 3/4 time and the key of Am. The melody notes are underlined, so you can go through it a few times playing just the melody. Note that there is only 1 note (a pick-up note) in the first measure. To preserve integrity, the last measure has only 2 beats, so that the two together add up to a full measure of 3/4 time. This arrangement was done from a folk rather than a classical approach, so think in terms of chords, and use the chords written in above the score, and it all falls together more easily.

    The verse is a steady flow of 1/8 notes, so count 1&2&3& throughout the verse, except at the end of the first phrase (measure 9), where there is one note missing in order to give a feeling of finality. Count 1 2&3& for this measure. The count in the chorus is just 123, as you are playing 3 1/4 note beats in each measure. This is done so that we can get more power at the start of the chorus by using block chords (measures 18, 19, and 20, then again at 26,27 and 28).  The 3/4 time rhythm in the chorus is carried by the bass, so use the thumb for all 3 notes. Eg in measure18, at the start of the chorus, you would use the thumb on the 5th, then the 4th and then the 3rd strings. Measures 19, 21, 23, 25, 27,29, and 32 have a melody note added between the 2nd and 3rd beats, so here you would count 1 2&3 in each of those measures.

     If you have been playing at the intermediate level for a while, and if you start learning this one today, you could be playing it by Christmas morning. I will go over it at the meeting next Wednesday Dec 23 (that is, if we have a meeting that day), and discuss any problems that have arisen. If you are new to the intermediate level (eg, you have just learned “Freight Train” as your introduction to Travis picking, you probably won’t have it ready to perform on Christmas morning. You can, however, play it all year as “Greensleeves” and have it ready for next year.

     If we are still doing Picker’s Circle next year, I’ll introduce more Christmas songs in about October or November.

Thomas

Here is my arrangement of White Christmas — Enjoy Charles.

Frog went a courtin’

Wedderburn’s Complaynt of Scotland (1548) under the name
“The Frog cam to the Myl dur”

1 2 3 41 2 3 4
AAAA
Frog went a-courtin’ and he did ride, Uh-hah
AA E7 E7
Frog went a-courtin ,and he did ride, Uh-hah
AADD
Frog went a-courtin’, and he did ride, With asword and a pistol by his side, Uh
AE7A
-hah Uh-hah Uh-hah
AAAA
Said He, “Miss Mouse,are you within?” Uh-hah
AAE7E7
Said He, “Miss Mouse,are you within? Uh-hah
AADD
Said He, “Miss Mouse,are you within?”“Yes, kind sir,I sit and spin, Uh
AE7A
-hah Uh-hah Uh-hah

[Verse 4]
He took Miss Mousey on his knee, Uh-hah
Took Miss Mousey on his knee, Uh-hah
Took Miss Mousey on his knee
Said, “Miss Mousey, will you marry me?” Uh-hah ah hah, ah hah
[Verse 5]
“Not Without my uncle Rat’s consent, Uh-hah”
“Not Without my uncle Rat’s consent, Uh-hah”
“Without my uncle Rat’s consent
I wouldn’t marry the president, Uh-hah ah hah, ah hah”
[Verse 6]
Uncle Rat laughed shook his fat sides, Uh-hah
Uncle Rat laughed shook his fat sides, Uh-hah
Uncle Rat laughed shook his fat sides
To think his niece would be a bride, Uh-hah ah hah, ah hah
[Verse 7]
Where shall the wedding supper be? Uh-hah
Where shall the wedding supper be? Uh-hah
Where shall the wedding supper be?
Way down yonder in a hollow tree, Uh-hah ah hah, ah hah
[Verse 8]
What should the wedding supper be? Uh-hah
What should the wedding supper be? Uh-hah
What should the wedding supper be?
Fried mosquito in a black-eye pea, Uh-hah ah hah, ah hah
[Verse 9]
Well, first to come in was a flyin’ moth, Uh-hah
First to come in was a flyin’ moth, Uh-hah
First to come in was a flyin’ moth
She laid out the table cloth, Uh-hah ah hah, ah hah
[Verse 10]
Next to come in was a juney bug, Uh-hah
Next to come in was a juney bug, Uh-hah
Next to come in was a juney bug
She brought the whisky in a water jug, Uh-hah ah hah, ah hah
[Verse 11]
Next to come in was a little black tick, Uh-hah
Next to come in was a little black tick, Uh-hah
Next to come in was a little black tick
She ate so much she made us sick, Uh-hah ah hah, ah hah
[Verse 12]
Next to come in was a big black snake, Uh-hah
Next to come in was a big black snake, Uh-hah
Next to come in was a big black snake
Ate up all of the wedding cake, Uh-hah ah hah, ah hah
[Verse 13]
Next to come in was the old gray cat, Uh-hah
Next to come in was the old gray cat, Uh-hah
Next to come in was the old gray cat
Swallowed the mouse and ate up the rat, Uh-hah ah hah, ah hah
[Verse 14]
Mr. Frog went a-hoppin’ up over the brook, Uh-hah
Mr. Frog went a-hoppin’ up over the brook, Uh-hah
Mr. Frog went a-hoppin’ up over the brook
A lily-white duck come and swallowed him up, Uh-hah ah hah, ah
hah
[Verse 15]
A little piece of cornbread layin’ on a shelf, Uh-hah
A little piece of cornbread layin’ on a shelf, Uh-hah
A little piece of cornbread layin’ on a shelf
If you want anymore, you can sing it yourself, Uh-hah ah hah,
ah hah

Silkie

1 2 3 4 5 6 1 2 3 4 5 61 2 3 4 5 6 1 2 3 4 5 6
DCCD
An earthlynursesits andsings And
DCCD
aye shesings alily wean And
GDCD
little ken I mybairn’s father. Far
C 2 3 4 Em 6EmAm . . . . . D
less the land that he dwells in
An earthly nurse sits and sings
And aye, she sings by lily wean -
And little ken I my bairn's father
Far less the land where he dwells in
 
For he came on night to her bed feet
And a grumbly guest, I'm sure was he
Saying - Here am I, thy bairn's father
Although I be not comely
 
I am a man upon the land
I am a silkie on the sea
And when I'm far and far frae land
My home it is in Sule Skerrie
 
And he had ta'en a purse of gold
And he had placed it upon her knee
Saying - Give to me my little young son
And take thee up thy nurse's fee
 
And it shall come to pass on a summer's day
When the sun shines bright on every stane
I'll come and fetch my little young son
And teach him how to swim the faem
 
And ye shall marry a gunner good
And a right fine gunner I'm sure he'll be
And the very first shot that e'er he shoots
Will kill both my young son and me

Pickers Circle 9 Dec

Theme: I got rhythm?

I got a question about strumming the other day and I realized that there is a lot about this that I don’t know so I thought an evening devoted to the topic would be in order.

For a dancer the basic rhythms are Waltz, Foxtrot, Quickstep and Tango. The more adventurous can try swing/jive, Cha-cha, Rhumba and Samba. Each of these has an associated time signature and tempo and a count for the basic step. How many examples can we play in a circle?

Guitarists starting out can stick to 4/4 time, think foxtrot or twostep count 1 2 3 4. Waltz time, 3/4, would be next then the fast waltz in 6/8. For me the best way to keep time has been using a metronome and tapping my foot. This is harder than it seems but worth practicing.

Here is the music for Freight Train in 4/4 time and here is a metronome. Strum this at 60 beats per minute and read the bar number off the top of the sheet. One of the easiest songs to play in 6/8 time is Silkie, from an early Joan Baez recording. Here are the chords and the timing in 6/8.

Pickers Circle – Nov. 25

Open Tunings with Stoo Born.

Doors open 3 pm — Session ends at 5:00 pm

Session Highlights on Youtube. Click here.

mailto: Charles@westrc.com for the Zoom link

This session features Open Tunings. but that’s only a suggestion, people play what they please or make requests in the circle. Questions and comments are always welcome. Use the chat or send e-mail.

Stoo Born from Music and More on Main will demonstrate some open tunings and show beginner/intermediate players how to re-tune their guitar. A digital tuner is a nice thing to have handy.

Pickers who wish to play should know something about Zoom:

  1. You must enable Original Sound
  2. You need to prefix your Zoom name with a number. Pick a number from 1-100 and try not to have the same number as your neighbor. We use these numbers to go around the circle.
  3. Ear buds/phones are a good idea — they prevent echo on some systems.
  4. If you have technical difficulties contact me anytime offline. I’m here to help.

If you just came to listen don’t bother with a number and you won’t be asked to play. Following the demonstration we will break into learning and listening groups.

Beginners should review Chromatic and Diatonic scales but this is not a prerequisite.

Pickers Circle – Nov. 11

Doors open 7 pm — Session ends at 9:30 pm

Session Highlights on Youtube. Click here.

mailto: Charles@westrc.com for the Zoom link

This session features Bluegrass but that’s only a suggestion. I will go through Doc Watson’s — Doc’s Guitar for beginner/intermediate players. Video

Doc’s Guitar is a very fast classic that every fingerpicker should know how to play. The good news is that chords are quite simple and the right hand is mostly the fast banjo roll we learned at the end of Freight Train. The bad news is that full speed is 160 bpm and I’ll be surprised if anyone can play it at that speed. More good news; it sounds pretty good at half speed.

A Section — Chord shapes are C, Am, F , G and G7. The chords change every quarter note. At 60 bpm this is once a second. This is a great left hand study. The right hand is mostly just T, m , T , i. Thumb, middle, Thumb, index. We play the melody by stressing the Thumb playing the root of each Chord. C, A, F, G and if those notes are all you play, you can play along with Doc Watson at 160 bpm. Playing all the notes at 60 bpm means 4 notes a second — quite possible .

B Section — Chords are C, F, G — There is a pull-off in the C chord that is a challenge but very good for improving left hand strength and co-ordination. The melody moves to the higher strings.

C Section — Chords are E/E7, Am/Am7, D7, G7 is just a nice bluesy passage. Play the chord then add the 7th. It’s all in first position. Easy at 60 bpm but gets harder as you speed up.

If some just wish to play and listen we can break into two or three groups.

Beginners should review Chromatic and Diatonic scales but this is not a prerequisite.

Pickers Circle – Oct. 28

Doors open 3 pm — Session ends at 5 pm

Session Highlights on Youtube. Click here.

mailto: Charles@westrc.com for the Zoom link

This session features Train songs but that’s only a suggestion. I will go through Liz Cotton’s Freight Train as a basic introduction to Travis Picking for beginner/intermediate players. Chord shapes are C Em F and G and G7. If someone wants to do it in A we can do that.

Freight Train with a metronome
1 23 41 23 4
CG7 G7
Freight Trainfreight trainrun so fast G A B
G G C
Freight trainfreight traingoin’ so fast C B Bb
Em Em7F F
Please don’tsay what train I’m on So They
CG7 G6CC
won’t knowwhere I’ve gone.

If some just wish to play and listen we can break into two groups.

Beginners should review Chromatic and Diatonic scales but this is not a prerequisite.