Manual Play It Like Perry (Play It Like Perry for Tenor Banjo Book 1)

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If you can read music, you should get your hands on a copy of O'Neill's Music of Ireland. That has a couple hundred jig tunes in it to learn. There's also some of the books by the Kitchen Musician i. The Kitchen Musician's Occasional Jig. I'd give those a look if you're looking for tunes. German Stradivarius copy, G. Pfreztschner, maker. Like Mike said, Enda's book is a great resource, highly recommended. Another good resource is Mike Gregory's column on Irish playing at www.

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Cheers, Jill. Assuming you're after collections of music for new tunes and not basic tutorials to learn techniques , don't be afraid to look at fiddle and whistle books. They will work perfectly if you read standard notation. The notes is the notes.

Originally Posted by mikeyes. I like the sound of the irish jigs the best so I need a book that brings me right to the very basic's for Irish jigging. He was not admant that you had to do it this way but he thought that it was a better way to learn. It took me three months of hard work to get it, but I agree that it made a big difference in the way I sounded. It is better to have a solid base from which to expand than to just go into the music with a hodge-podge approach that may or may not make the music sound like a jig.

Mike: Yeah, I agree and I'm working on it the way you suggest, but I did think it interesting to read what I quoted.


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There are examples I can see in his book where there is a quarter note, followed by an eighth note, followed by three eighth notes in a measure. So the way I previously understood general rule would say play it DU DUD, but if you turn that quarter note into a treble, then Enda is saying that first eighth note, which would have been an upstroke, now needs to be a downstroke.

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I had also never before seen an explanation that it is even more complicated that just DUD DUD, there nuances that go beyond that. So in my own way, I am just supporting that it is a great book, one that seems simple, but contains deceptively complex material. I also think it applies to mandolin as well as tenor banjo and contains some important content that I've not seen in mandolin books. They publish tune books with the tunes organized into sets, by song type. They also sell CD's of sessions featuring the songs in the books so you can hear what they sound like.

You can search for tunes by type. That should be good for a start. Read Standard notation? Cole Publishers.. Reels, Jigs, Hornpipes, Clogs, and a few Strathspeys.

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Originally Posted by John Flynn. I have volume one of this Walton's series and really like it. Nice playing on the CD's. Standard notation only. Catmandu -- In my experience, jig bowing on fiddle and jig picking on mandolin are two different beasts. The main difference is that it is difficult and rare though not impossible to play two down-bows in a row, but two down-strokes in a row are common on mandolin there is a ghost "up" movement between the third and fourth "D" strokes in DUD DUD. Originally Posted by EdSherry.

I like tangible 'hard copy' that I can transport to any room in the house, or take outside. While not addressing the "instructional" component about jig pick directions, etc. Though there are numerous tunes which I've got in regular printed collections and tunebooks, just having them all quickly at hand warranted printing them out again.

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With the Irish stuff, it is fairly convenient to do, especially if the CD is listed on thesession. What are the tunes that grab your ear from the CDs in your collection?


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Get the notation or the abc code and add it to a Word file. Paste in photos of the artist. Burn a compilation CDR of all those tunes and listen to it in the car as a "material disc".

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Martin responded in by introducing small guitars with narrow four-string necks. In early March, , Al Esposito, instrument department manager of the major New York jobber and retailer Carl Fischer, sent Martin a crude drawing suggesting how a larger fret guitar body could be altered to produce a model with 14 frets clear, despite the shorter tenor scale. I am holding them back from purchasing one of these, until I hear from you. Like many salesmen before and since, Esposito was desperately trying not to lose a sale.

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Martin first sent a standard long-neck Size 2 tenor, which was quickly rejected. Esposito was pleased, ordering five at a time after specifying a lower price point, which Martin met by switching to a mahogany body. After early signs of success with this reshaped tenor model, C. Martin III was suddenly receptive to new ideas from banjo players, as well as requests for altering the body shape.

Martin III and his father Frank Henry were entertaining another hot young banjo player with big ideas, but this one was looking for a six-string guitar, not a tenor. Cable was one of the largest and most prestigious music stores in the South. Having moved beyond pianos, Cable boasted a comprehensive string-instrument department. Like Al Esposito, he was a professional orchestra player with lots of clout with his fellow musicians. Bechtel had recently returned to Atlanta after a high-profile stint with the Phil Spitalny Orchestra and was considered the local virtuoso of the frets.

He was also a Pennsylvania native, and Markley discovered that Bechtel had plans to bring his Southern wife on a vacation to his home state. Despite humble origins, Perry Bechtel had already flirted with stardom. Back in port, a fellow seaman shipping out had tossed Bechtel a pawn ticket, which as luck would have it yielded a tenor banjo.

Unable to afford lessons, he contrived an arrangement that allowed him to listen under the window while a betteroff friend received instruction. Soon after leaving the Navy, he was already a professional working in dance bands. Hokey sobriquets aside, Perry Bechtel was recognized by any who heard him as having extraordinary musical sense as well as staggering technique. Unlike many banjoists, Bechtel had little interest in tenor or plectrum guitars, being already equally adept at playing both four-string banjo and six-string guitar.

After receiving the tip from Markley, C. III invited Bechtel to drop by the factory when he was in the area. Bechtel, Frank Henry Martin and C. III went fishing at a nearby lake and enjoyed a picnic together with their wives. The bond between C.