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I ask the Lord, please forgive me for the stuff I done trying to make a nickel - Pinetop Perkins

Author Topic: Miller's Breakdown  (Read 122707 times)

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Offline Prof Scratchy

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Re: Miller's Breakdown
« Reply #2100 on: January 01, 2020, 02:52:17 PM »
Iím with mgalup on the position and tuning. Interesting to hear a 12 string tuned to concert pitch for this performance. I agree too with the ascending/descending run. As for the other questions, Iím afraid my hearing aids fail me!


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Offline Johnm

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Re: Miller's Breakdown
« Reply #2101 on: January 03, 2020, 06:50:29 AM »
Hi all,
Any other takers for the puzzler on Mae Glover and John Byrd's "Shake It Daddy"?  Come one, come all!
All best,
Johnm

Offline blueshome

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Re: Miller's Breakdown
« Reply #2102 on: January 03, 2020, 10:04:28 AM »
Nothing to add to the others.  A great 12-string sound, on other songs heís even higher pitched IIRC. The only other I can think of just now is Barbecue Bob.

Offline Johnm

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Re: Miller's Breakdown
« Reply #2103 on: January 08, 2020, 10:24:21 AM »
Hi all,
There have been no new responses to the Mae Glover/John Byrd puzzler on "Shake It Daddy", so I'll post the answers:

For "Shake It Daddy, John Byrd:
   * played the song out of G position in standard tuning, as all who responded had it--well done!
   * played the ascending/descending run at :05--:06, ascending chromatically on the second string from the open string to the third fret and then descending chromatically back to the open second string, 0-1-2-3-2-1-0, as Mark had it, and John Byrd did open up on the sixth string during the run, freeing up his third finger to fret the third fret of the second string and otherwise assigning a finger to a fret for the run, and free-handing it.  It's a very "smart hand" move.
   * fretted what he played from :20--:21 at 1-0-0-3, moving from the fourth string to the first string, left to right.  It would be possible to assign some kind of abstruse chordal designation to this combination of notes, like Eb augmented, but what he is doing is essentially going from the C major chord that precedes this chord to a C minor, with the minor third, Eb, voiced at the first fret of the fourth string.  I expect he vacated the first fret of the second string he had been fretting in the C chord and just moved his index finger over to the first fret of the fourth string, leaving his little finger fretting the third fret of the first string, where it had been in the C chord.
   * played the bass run from 2:07--2:10 like so:  Third fret of the sixth string to second fret of the fifth string, open fourth string, second fret of the fourth string, open third string, second fret of the fourth string played twice, open fourth string played twice, second fret of the fourth string, open third string, second fret of the fourth string, open fourth string, following with a big treble brush stroke of the top of a G chord.  The run covers the third measure of the form and the first three beats of the fourth measure in that verse.

I sure wish that Mae Glover and John Byrd had been recorded doing more titles together, because the ones they did were all stellar.  John Byrd was seriously under-recorded, given his level of skill and invention.  He's one of my absolute favorite 12-string guitar players in the style.

Thanks to the folks who responded to the puzzler and I hope you enjoyed the song.

All best,
Johnm

Offline Johnm

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Re: Miller's Breakdown
« Reply #2104 on: January 24, 2020, 11:26:34 AM »
Hi all,
I have a new puzzler for those of you who are interested.  It is "Worrying Blues", by Carolina Slim (James B. Harris), a really nice Post-War player who died really young.  Here is the song:



INTRO

Laid down last night, man, I couldn't take my rest
Laid down last night, man, I couldn't take my rest
My mind started rambling, like a wild geese out in the West

My baby's gone and left me, and just what's worrying me
My gal has gone and left me, man, just what's worrying me
I start blue and disgusted, worried as a man can be

SOLO

I laid down last night, I was happy as a man could be
Laid down last night, I was happy as a man could be
And all at once, you know, the blues started to worrying poor me

The questions on "Worrying Blues" are:
   * What playing position/tuning did Carolina Slim use to play the song?
   * Where did Carolina Slim fret the long ascending/descending run he plays from :11--:16?
   * Where did Carolina Slim fret what he plays from :19--:21 in the first line of the song, after the word "night"?
   * Where did Carolina Slim fret what he plays he in his solo, 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 8:00 AM your time on Monday, January 27.  Thanks for your participation, and I hope you enjoy the song.
All best,
Johnm
« Last Edit: February 04, 2020, 11:35:29 AM by Johnm »

Offline Old Man Ned

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Re: Miller's Breakdown
« Reply #2105 on: January 27, 2020, 08:55:48 AM »
Here's what I'm hearing for Carolina Slims Worrying Blues:

 Playing position/tuning: A standard, sounds like he's tuned a whole step low
 Where did Carolina Slim fret the long ascending/descending run he plays from :11--:16?
--------3-5-3----------------------
-5-3-5-------5-3-1----------------
---------------------2-0------------
------------------------2-0---------
----------------------------3-3-3-0
-------------------------------------
ending on the 5th string
   * Where did Carolina Slim fret what he plays from :19--:21 in the first line of the song, after the word "night"? I'm hearing this as an A chord; 1str open; 2nd str/5th fret;3rd str/6th fret
   * Where did Carolina Slim fret what he plays he in his solo, from 1:49--1:52?
-------------------------------
-------------------------------
-------------------------2-2--
-7-7-7-7-7--2---0-----------
----------------3---3-3------0
-------------------------------
ending on the 5th string.

Or at least that's what I jotted down last night! Hope it makes sense.

All the best,
Ned

Offline Prof Scratchy

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Re: Miller's Breakdown
« Reply #2106 on: January 28, 2020, 04:46:07 AM »
* What playing position/tuning did Carolina Slim use to play the song? - A standard

   * Where did Carolina Slim fret the long ascending/descending run he plays from :11--:16?
----------------------3---------------------------------------------------
---2---3---4---5---------5---4----3----------------------------------------------
-----------------------------------------5----2---------------------------
---------------------------------------------------5---2---0---------------
-----------------------------------------------------------------3b---3b--3b----0---
-------------------------------------------------------------------------
   * Where did Carolina Slim fret what he plays from :19--:21 in the first line of the song, after the word "night"?

abbreviated A chord on open first string, 2nd string at 5th fret and 3rd string at 6th fret

   * Where did Carolina Slim fret what he plays he in his solo, from 1:49--1:52?

-------------------------------------------------------------------------
-------------------------------------------------------------------------
------------------------------------------------------------------------
--------------0----1----2--------------------------------------------------
---0---4-------------------------------------------------------------------
---------------------------------0----------------------------------------

Offline blueshome

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Re: Miller's Breakdown
« Reply #2107 on: January 29, 2020, 06:50:53 AM »
A standard tuned low.
Iím with the Professor on the runs as far as my poor ears can make out.

He sounds like a mixture of BBFuller and Lightning Hopkins. However, I always had a feel the Lightning had listened to Fuller, certainly when listening to his early recordings.

Offline banjochris

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Re: Miller's Breakdown
« Reply #2108 on: January 29, 2020, 10:53:58 AM »
One thing I would add is that I think he's tuned his bass string down to D (relatively speaking) but didn't quite make it. But it does sound to me as if he's playing a low open 6th with his IV chords.
Chris

Offline Old Man Ned

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Re: Miller's Breakdown
« Reply #2109 on: January 30, 2020, 01:04:42 PM »
Yeah, I heard that low bass string, first at the 8 sec mark, but just thought he was horribly out of tune. I think I owe Carolina Slim an apology. I'm going with A in dropped D tuning.

Offline Prof Scratchy

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Re: Miller's Breakdown
« Reply #2110 on: January 31, 2020, 01:40:54 AM »
I did too. But I think banjochris is right about the drop D! Pity, as it kicks my answer into touch!

Offline Johnm

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Re: Miller's Breakdown
« Reply #2111 on: February 01, 2020, 06:04:07 AM »
Hi all,
Any other takers for the puzzler on Carolina Slim's "Worrying Blues"?  Come one, come all!
All best,
Johnm

Offline eric

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Re: Miller's Breakdown
« Reply #2112 on: February 01, 2020, 06:20:36 AM »
You folks have good ears.  I got as far as A position.
--
Eric

Offline Johnm

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Re: Miller's Breakdown
« Reply #2113 on: February 04, 2020, 11:26:38 AM »
Hi all,
We've had no responses for several days on the puzzler on Carolina Slim's "Worrying Blues", so I'll post the answers.  Here goes:

For Carolina Slim's "Worrying Blues":
   * His playing position was A position in Dropped-D tuning, as Chris first noted.  You can really hear that low root on the IV chord when he first goes to his D chord.
   * He fretted the long ascending/descending run from :11--:16 as follows:  On the + of beat four, he hits a bent fifth fret of the third string.  On beat one he plays a triplet moving up the second string from the third fret to the fourth fret to the fifth fret.  On beat two, he plays a triplet going from the third fret of the first string to the fifth fret of the second string to the third fret of the second string.  On beat three, he plays another triplet, going from the first fret of the second string to the second fret of the third string to the open third string.  On beat four, he plays a triplet descending the fourth string chromatically, second fret, first fret, open.  On beat five, he hits the bent third fret of the fifth string twice, on 6 +.  And on beat six, he concludes the run with a triplet, hitting the bent third fret of the fifth string and then hitting the second fret of the third string twice, finally resolving into the open fifth string on the downbeat of the next measure.  The length of this run and it's circuitous quality are very Lightninesque.
   * From :19--:21, Carolina Slim brushes the first three strings, while fretting the sixth fret of the third string and the fifth fret of the second string, as both Old Man Ned and Prof Scratchy had it.  Getting that unison between the fifth fret of the second string and the open first string gives the brush stroke a neat buzzy quality.
   * From 1:49--1:52, Carolina Slim starts a slide from the second fret of the fourth string on the + of beat two of a 2-beat measure, arriving at the seventh fret of the fourth string on beat one and filling out the beat by hitting that note two more times for a triplet.  On beat 2 + he goes from the seventh fret of the fourth string to the open fourth string.  On beat three, he plays a triplet going from the bet third fret of the fifth string to the open fourth string and back to the bent third fret of the fifth string.  On beat four, he plays another triplet, going from the bent third fret of the fifth string and hitting the second fret of the third string twice, finally resolving to the open fifth string on the downbeat of the next measure.  Once again, the placement of the run and its sense of taking however much time is necessary to complete the musical thought is very much in Lightnin' Hopkins' style.

I think that Phil's observation that Carolina Slim sounds like a combination of Blind Boy Fuller and Lightnin' Slim is spot on.  Behind his singing, Carolina Slim shows a stronger Fuller influence in his phrasing and timing, utilizing several of Fuller's pet moves in A, but in his soloing, he shows a much stronger Lightnin' Hopkins influence.  And of course, Lightnin' recorded several songs played in A out of Dropped-D tuning, which is something Fuller never did.  It's really a shame that Carolina Slim passed away so young, both for his own sake and for his friends and family, of course, but in a musical sense, because he wasn't presented with the opportunity to come into his own, in a way.  Despite that, he recorded a lot of really strong music, and as I listen to him more, I'm more and more impressed all the time.  He really had a lot to offer.

Thanks to all who participated, and I hope you enjoyed Carolina Slim's "Worrying Blues".  I'll try to find another puzzler to post soon.  Incidentally, I hope those of you who are guitarists will try some of these runs--they're great!
All best,
Johnm   

Offline Johnm

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Re: Miller's Breakdown
« Reply #2114 on: February 24, 2020, 12:23:53 PM »
Hi all,
It has been a while since I posted a new puzzler, and I have one for those of you who are interested--Kid Prince Moore's "Sign of Judgement".  Here is Kid Prince Moore's performance of the song:



The question on Kid Prince Moore's "Sign of Judgement" are:
   * What playing position/tuning did he use to play the song?
   * In the chorus, tell what chord he is playing and what happens in the left hand the first time he sings the word "sign".
   * In the chorus, tell what chord he is playing and what happens in the left hand the second time he sings the word "sign".

Please use only your ears and your guitars to arrive at your answers, and please don't post any answers prior to 8:00 AM your time on Thursday, February 27.  Thanks for participating, and I hope you enjoy "Sign of Judgement".

All best,
Johnm

 


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