Topic: Miller's Breakdown

[One-Eyed Ross]

I didn't type a response, but was thinking G std and then Vestapol for the second, which was wrong I can see.  Missed that double E ....not a tuning I'm familiar with, which might account for missing it.

[frankie]

I don't think it's familiar to anyone, really...  frankly,  a tuning that consists entirely of the root and the fifth doesn't strike me as automatically sonically interesting...  Hopkins' singing and playing is interesting over and above the tuning, really. (maybe in spite of it?)

[One-Eyed Ross]

I don't think it's familiar to anyone, really......  Hopkins' singing and playing is interesting over and above the tuning, really. (maybe in spite of it?)

Possibly one of the reasons he is famous and I am not?

[waxwing]

Googling, there seem to be some post war uses of the tuning by Stephen Stills (4 & 20, Carry On, and possibly Sweet Judy Blue Eyes) and reportedly by Nick Drake (which younger Weenies may be aware of?). A few others are mentioned. How any of them came upon the tuning is a mystery to me.

Wax

[frankie]

Possibly one of the reasons he is famous and I am not?

You're probably exactly as famous as Joel Hopkins, but that's not really the point...

[Johnm]

Hi all,
It occurs to me that it's worth pointing out that IDing the tuning Joel Hopkins used was not a function of recognizing the sound of the tuning as it was being played in the course of the tune, but rather, simply listening to Hopkins strumming across his open strings at the beginning of the track and remarking upon the sound of those open strings.  Everything else derives from that.  He basically gave the tuning right there.
All best,
Johnm

[frankie]

simply listening to Hopkins strumming across his open strings at the beginning of the track and remarking upon the sound of those open strings.  Everything else derives from that.  He basically gave the tuning right there.

precisely.

[eric]

That's why I figured Vestapol; I just wasn't sharp enough to catch the 3rd string.  No pun intended...

[waxwing]

Hi all,
It occurs to me that it's worth pointing out that IDing the tuning Joel Hopkins used was not a function of recognizing the sound of the tuning as it was being played in the course of the tune, but rather, simply listening to Hopkins strumming across his open strings at the beginning of the track and remarking upon the sound of those open strings.  Everything else derives from that.  He basically gave the tuning right there.
All best,
Johnm

I thought you made that pretty clear in your original explanation, Johnm, which makes me think you could be referring to my wondering where Stills or Drake might have learned the tuning? Are either of them known as deep listeners to extremely obscure country blues recordings? I don't really know, but from discussions I found on a guitar forum of some ilk, it is, apparently, a "known" tuning, at least by some (not me). My googling was in response to your original statement that you "have never heard of anyone else using this tuning." Just made me curious so I did a search.

Wax

[Johnm]

Nope, it had nothing to do with your post, Wax.  It had to do with people saying they could not have figured the song out because they had never heard of the tuning before.  Neither had I.  I just heard him play the open strings and said, "Huh, how about that?"
All best,
Johnm

[One-Eyed Ross]

That gives my ears more credit then they deserve, John....

[Mr.OMuck]

Is this in the same tuning ? Popped in my head right away.

[Johnm]

That sounds like conventional Vestapol to me, Phil.  Reviewing Sister O. M. Terrell's titles, of her six, "Life Is A Problem" and "How Long" were in cross-note and all the others were in Vestapol.
All best,
Johnm

[Johnm]

Hi all,
I've got a new puzzler for folks who are interested.  The first song is Memphis Minnie's version of "Georgia Skin Blues", for which she was joined by Joe McCoy.  Here is their rendition of the song:



SOLO

The reason I like the game, the game they call Georgia Skin
The reason I like the game, the game they call Georgia Skin
Because when you fall, you can really pick out again

When you lose your money, please don't lose your mind
When you lose your money, please don't lose your mind
Because each and every gambler gets in hard luck sometime

I had a man, he gambles all the time
I had a man, he gambles all the time
He played the dice so in vain, until he like to lost his mind

Out of the games I know, give me Georgia Skin
Out of the games I know, give me Georgia Skin
Because the womens can play, where also is the men

I picked that jack of diamonds, I played 'im on down to the end
I picked that jack of diamonds, I played 'im on down to the end
That's why I say I like the game called Georgia Skin

Mmmmmm, give me Georgia Skin
Mmmmmm, give me Georgia Skin
Because the womens can play, where also is the men

SOLO

The question on "Georgia Skin Blues" is:
   * What position/tuning was each of the players using to play the song?

The second song is Buddy Moss's "Blue Shadow Falling".  Here is his performance:



INTRO

Blue shadow falling, and my baby going away
Blue shadow falling, and my baby going away
Well now, the blues is my companion, every night and every day

Well, please talk to me, baby, if it's on your telephone
Please talk to me, baby, if it's on your telephone
Well, let me tell you how I feel the blues today, how it feels to be alone

SOLO

Here are the questions on "Blue Shadow Falling":
   * What position/tuning did Buddy Moss use to play the song?
   * Where is he fretting the two-string harmony bend from :19--:22?
   * Where does he fret the transition into the tenth bar of the form, from 1:49--1:52?

Please use only your ears and instruments to arrive at your answers, and please don't post any answers before Thursday morning, March 26.  Thanks, and I hope you enjoy the songs.
All best,
Johnm

[eric]

Time for another embarrassing guess.  On Georgia Skin, I think one guitar is playing out of G position capoed at the 2nd fret.  Maybe in Spanish? But I'm not that conversant in that tuning.