he manages it rather well.....

(Sorry for the topic drift. This topic just jarred an old memory loose.)

The good news is that it's in sort of in A, so you've got a lot of open strings to use near the nut. If I get inspired I can try to post my take on how to play the first page or so, but the basic idea is that you take major advantage of the "chromatic" strings and all your basic E9 changes that affect those top four strings (except string one, which doesn't need changing, as I recall). There are no fancy pedal moves, it's all about activating the right pedal or lever to enable the proper hammer-ons for each section. No "real time" pedal moves required (which is intentional, since I wanted to avoid slides wherever possible).

The way I worked it out, until you get to the part where the notes start higher than the high A on your third string you can basically play it all with only one one-fret slide per section--and that slide is appropriate for the way the song is phrased. It's actually kind of amazing how well it works.

Once you get past the first couple of pages, though, the melody line moves into territory where you have to play it out of a closed position. This is where I started to bog down. It's still doable, but to get the phrasing right is a major headache.

As for the initial descending chromatic run, the way I worked it out was to start at the twenty-fourth fret and end at the open position, descending using strings two and four. The way the melody works, descending and rising on the way down, you'll only need to make a few two fret jumps--everything else will be a one fret jump. You'll also need to be able to play a double hit on string four followed by a double hit on string two. You could use a slide, but it wrecks the phrasing. I alternate:

F# -------------------------
D# -------23-22-------21-20-
G# -------------------------
E  -24-23-------22-21-------
    T  I  M  I  T  I  M  I

This way works for me, since it allows me to make the long, long descending run without, say, a huge twelve fret jump somewhere in the middle.

Maybe this'll inspire me to bring the steel out of its case and set it up again--I haven't played it in over a couple of months, now.

At any rate, this song is, thanks to the key it's in, surprisingly playable on pedal steel (until you get to the stuff where you've got to play out of a closed position). To play it slow, anyways...

If anybody gets it up to speed, please record it and post it!

-Travis

P.S. If anyone wants more specific instructions on how to play this tune, I can get more specific and post some suggestions in tab form, but it'll take some work...

[This message was edited by Travis Bernhardt on 06 June 2005 at 11:13 PM.]

I only have the 36-bar excerpt found in the Classical Fake Book, but it's the juicy bit - in Am, it's the lick descending chromatically from E to C, then F, E, D#, then E to C chromatically down and back up. There's a few hiccups (down to B) then the whole thing repeats a 4th higher. I usually play a high G, so I retuned it to D and I sort of see the idea, but it seems like more trouble than it's worth to change strings? You just have to play the whole thing over again up a 4th, and then the high note's a Bb.

I'm influenced by the Indian guys who'll play whole scales and arpeggios fiendishly fast on a single string using a light bar, but the biggest jump ever is from an A to a repeated D and in the Eb section a whole-step pedal between C# and Eb. I got it (sloppily) up to 110 so far - it seems like the only issues are picking stamina and mental stamina (AKA "memory"), which are not the same thing at all. I couldn't find a free download for the whole thing, if there's a source for it who takes Paypal or somebody who can send me a copy of a violin or piano transcription please let me know. I had this thing squared away on six-string many years back, but it drifted away somewhere (as these things do) and I'm trying to break the habit of having to learn everything on guitar before I can even start it up on steel.

[This message was edited by David Mason on 07 June 2005 at 10:42 AM.]

Sort of a song where speed says nothing.
If you want to be fast, get up and run around the block, it will do you more good.

I'd just as soon hear the "Theme from Deliverence".

If Lloyd Green recorded it, it would still suck, could you imagine Lloyd recording that song? I can't. He has waaaaaaay to much taste.
It's not even a song, it's an exercise in noise, hey, dance to this song! Song? Not really. See how fast you can play your scales, then listen to some nice steel guitar music.

Just my opinion, and I'm entitled to it.
Ha!

[This message was edited by BobbeSeymour on 07 June 2005 at 03:52 PM.]

Rick- I haven't transcribed it, I have to save something for next week

------------------
http://www.johnmcgann.com
Info for musicians, transcribers, technique tips and fun stuff. Joaquin Murphey transcription book, Rhythm Tuneup DVD and more...

[This message was edited by John McGann on 07 June 2005 at 03:36 PM.]

For me, the unorthodox technique that I decided worked best was to pick forwards and backwards with both my thumb and index finger. The thumb plays the lower string by alternating back and forth, like a flatpick, and the index finger plays the higher string using the same technique. Amazingly, with a little care your index finger fingerpick won't go flying off.

Curious to hear how others have solved this problem.

Bobbe - I see what you're saying, but for some of us having an objective standard of proficiency to shoot for is helpful. 144 bpm? We'll see.... As Jim Cohen said, if nothing else it's good for your technique. If Buddy Emmons is throwing Bumblebee quotes into different solos, at some point he must have thought so too. The only problem I'm having is that now chromatic runs are starting to creep into everything else I play, the same thing happens when I work up "Straight, No Chaser."

[This message was edited by David Mason on 08 June 2005 at 05:00 AM.]

Back in 1982 I put out a "cassette EP" with a little ditty I called "Haul of the Mountain Beez", which combined thematic material from Peer Gynt and Flight of the Bumble Bee over a R&R backbeat- with lots of reverb flange and echo for good measure. The FOBB section wasn't up to traditional tempo, but it seemed to work in context

And I got the quote from listening to BE... I may not have played it on the same strings, but it worked for me on strings 678 E9, lowering 6 a half step and raising 8 a half step.

I don't have anything against this song, or anyone that wishes to perform it, I just don't want to be around when it's being done.
It's a clown song, worse than "I've been Everywhere Boy". Nonsense material, why bother, practice your scales.

Posted with humor, (but with a touch of reality)

There are millions of great songs with great chord progressions and great melodys.
Want speed? Learn "Orange Blossom Special", hey, at least it's country!

[This message was edited by BobbeSeymour on 08 June 2005 at 09:47 AM.]