Extended History of the Ukulele

Total Page:16

File Type:pdf, Size:1020Kb

Extended History of the Ukulele Extended History of the Ukulele © 2012 Dan Scanlan Two Hot Spots The Atlantic Ocean began to widen some 20 million years ago as the Earth distributed its lands globally. Southwest of the Rock of Gibraltar, off the coast of Morocco, a hot spot grew on the ocean’s floor where the Earth’s hot liquid center began to ooze through a thin spot in its skin. The ooze grew and coagulated ever larger until some seven million years ago, a series of islands appeared Madeira Island bubbled and hardened above the surface of the sea. Meanwhile, the Pacific Ocean was shrinking as the Americas drifted westward. Hot spots emerged near the center of that ocean, too, and seven million years or so ago a series of islands began to bubble to the surface of the water, an action that continues to build Hawaiian Islands islands today. Millions of years later humans found these island groups — Madeira in the Atlantic and Hawaii in the Pacific — and centuries after that their finding of one another would spawn the ukulele. Embracing that history is the first step to Love Uke. Two Peoples, Two Melting Pots Some historians believe that Phoenicians, Romans and North Africans must have stumbled onto Madeira Island some 2000 years ago. Others have suggested that Scandinavians approached it even earlier. Maps from the 1300s seem to show the islands. And there’s a legend of two lovers who were stranded and died there. But no humans were living on the islands in 1418 when João Gonçalves Zarco, a sea-faring explorer working for Portuguese Prince Henry the Navigator, found refuge from a storm at a small island he named Porto Santo, “Holy Port”. He didn’t see the larger neighboring island thru the mist. Two years later he revisited, saw the other island and named it “Madeira”, Portuguese for “wooden” because it was covered by a forest of trees. Earlier, in the 8th century, Moors migrated to or invaded what is now Spain and Portugal. The upper reaches of Portugal had already been peopled by Lusitani, Iberians and Celts. The Moors brought their musical instruments with them, later to be called lutes, and others, some of which most likely had re-entrant tunings. (Lusitani are said to have manufactured a braguinha as early as 139 BC. It did not have re-entrant tuning.) The Moors would rule and fight Christians in Portugal and Spain for 600 years. Meanwhile, on the the other side of the planet, in the Pacific Ocean, Polynesians probably from the Society Islands near New Zealand and Australia, migrated by boat to the Hawaiian Islands. (They would be undisturbed by Europeans until British explorer Captain James Cook came upon the islands in 1778. He would die there the following year after naming them the Sandwich Islands after an English noble and got himself into a pickle with the natives.) The Christians in Portugal defeated the Moors by 1249, but immediately had to fend off the attempts of Spain to take over the country; Spain was turned back for good in 1385, and Portugal has maintained its borders ever since. The ensuing peace allowed Portugal to take to the sea and the great exploration of the oceans began, and with it, the modern rediscovery of Madeira Island, and hence the Americas. The first to become Madeirans were Celts from Braga, a village in northern Portugal. When they arrived they set fire to clear some of the island of the heavy woods to make space for food crops —grapes and sugar cane. The fire raged for seven years, at times driving many settlers into the sea for safety; but the fire left the soil rich in phosphate, good for vines. The imported Malmsey grape thrived and the resultant Madeira wine eventually became the wine of choice for hundreds of years around the world, including the Americas once they were “discovered”. (It has been asserted that the American founding fathers celebrated with Madeira wine when they issued the Declaration of Independence in 1776. Unlike America, Portugal abolished, without war, slavery in 1775.) Like all Celts, the people of Braga were celebratory people and they brought their musical instrument with them — the braguinha, sometimes called the machete de Braga. This would become one of the primary instruments in a Madeiran folk music ensemble. The rajão would be invented and join the braguinha, in more ways than one. By 1425 the world’s first sugar cane plantation had been established in Madeira. Sugar would play a role in the economies of both Madeira and Hawaii and would facilitate the creation of the ukulele. In 1478 Christopher Columbus visited the Madeiran Islands to buy sugar and married the daughter of the first governor of Santo Porto. He found flotsam of various plants of foreign origin on the beach of Porto Santo, a find that helped inculcate the theory that there were other lands or islands even further west from Madeira which led ultimately to his voyage to the Americas. Nearly 300 years later British Captain James Cook visited Madeira on his first voyage of discovery, had an altercation with a local and returned later to plant a tulip tree near the beach to make amends. (The tree lived until 1963.) On his third voyage of discovery, Cook led the first crew of Europeans to set eyes on the Hawaiian Islands, landing there January 1778. He returned the next year after an unsuccessful hunt for the non-existent “Northwest Passage” across the North American continent. He died on Valentine’s Day 1779 at Kealakekua Bay on the island of Hawaii, slain by natives. The first of the Portuguese who came to Hawaii were sailors who came aboard the Eleanora in 1790, 11 years after Cook’s demise. By 1805 after King Kamehameha unified the Hawaiian islands, a sandalwood trade was established — Hawaii’s first foray into international commerce. It faded away, along with the sandalwood itself, 30 years later. In 1819 Kamehameha’s successor Liholiho ended the kapu system of religion and temples and the following year Protestant missionaries from New England rushed in to fill the void and pave the way for less adventerous businessmen. By 1835 a single sugar plantation had been started, and numerous churches built. In 1844, the Hawaiian government began a 12-year program called The Great Mahele, in which the Hawaiian lands were re- distributed. At first foreigners were not allowed to own land, but that changed in 1850. The sugar industry expanded, and when the Civil War came to the United States, Hawaii sugar exports accelerated, but went into decline at the war’s end. But in 1876, King David Kalakua, who had been elected with the support of the sugar barons, was able to get a trade agreement with the US that eliminated a tariff against sugar. And the need for laborers in Hawaii grew right along with the sugar production. A Marriage of Peoples In 1849 thousands of seekers joined the California gold rush, across both land and sea. But Dr. Wilhelm Hillebrand of Paderhorn, Germany didn’t need gold, he needed fresh air. Infected with tuberculosis and financially secure, he set out to find his breath. He tried the climates of Australia and the Philippines and attempted his medical practice there. But his practice failed and he remained ill. In December 1850 he arrived in Honolulu, Hawaii. Apparently the climate was good to him and he stayed in Hawaii for 21 years. In that time he was befriended by Queen Emma, the wife of King Kamahameha IV. Like the Queen, Hildebrand was an avid amateur botanist and between the two of them they brought to Hawaii a wide variety of plants from the Asian mainland, including the plumeria used in weaving leis, the traditional floral wreaths Hawaiians wear and present to visitors. In 1848 thousands of Hawaiians had died of influenza and in 1850 the island of Oahu lost half its population to smallpox. (Faster ships had made it possible for the smallpox virus to survive the trip from San Francisco to Honolulu.) Kamehameha and Emma raised funds for a hospital and Hillebrand became its first director and doctor. Queens Hospital is still one of the largest in the South Seas. He returned to his homeland in 1871 and was dissatisfied with the new German Reich, so he left for Madeira Island, which had become by then the major stopping off point for firewood, food and water before crossing the Atlantic. There he published a book “Flora of the Hawaiian Islands”. He also became aware of the dismal agricultural condition in Madeira due to a recent drought. He knew, too, of the need for laborers on the sugar plantations in Hawaii, and Madeirans had experience growing sugar, so he wrote his friends and eventually hired the bark Priscilla which brought 120 Madeirans to work in Hawaii in September 1878. Although there were traditional Madeiran musical instruments on board the ship, apparently no one on the boat knew how to play them. The Priscilla Madeirans joined the nearly 1100 Portuguese who were already in Hawaii, perhaps 900 from Madeira. These were primarily sailors who came by way of Timor, Batavia and Macao. The following year Hillebrand hired another ship, the Ravenscrag, and that bark brought woodworkers Manuel Nunes, Augusto Dias and Jose Espirito Santo and 350 other Madeirans to Hawaii. This time there were musicians on board— Joao Luiz Correa and Joao Fernandes. João Gomes da Silva was a passenger on the Ravenscrag who had a braguinha, but he didn’t know how to play it.
Recommended publications
  • The Science of String Instruments
    The Science of String Instruments Thomas D. Rossing Editor The Science of String Instruments Editor Thomas D. Rossing Stanford University Center for Computer Research in Music and Acoustics (CCRMA) Stanford, CA 94302-8180, USA [email protected] ISBN 978-1-4419-7109-8 e-ISBN 978-1-4419-7110-4 DOI 10.1007/978-1-4419-7110-4 Springer New York Dordrecht Heidelberg London # Springer Science+Business Media, LLC 2010 All rights reserved. This work may not be translated or copied in whole or in part without the written permission of the publisher (Springer Science+Business Media, LLC, 233 Spring Street, New York, NY 10013, USA), except for brief excerpts in connection with reviews or scholarly analysis. Use in connection with any form of information storage and retrieval, electronic adaptation, computer software, or by similar or dissimilar methodology now known or hereafter developed is forbidden. The use in this publication of trade names, trademarks, service marks, and similar terms, even if they are not identified as such, is not to be taken as an expression of opinion as to whether or not they are subject to proprietary rights. Printed on acid-free paper Springer is part of Springer ScienceþBusiness Media (www.springer.com) Contents 1 Introduction............................................................... 1 Thomas D. Rossing 2 Plucked Strings ........................................................... 11 Thomas D. Rossing 3 Guitars and Lutes ........................................................ 19 Thomas D. Rossing and Graham Caldersmith 4 Portuguese Guitar ........................................................ 47 Octavio Inacio 5 Banjo ...................................................................... 59 James Rae 6 Mandolin Family Instruments........................................... 77 David J. Cohen and Thomas D. Rossing 7 Psalteries and Zithers .................................................... 99 Andres Peekna and Thomas D.
    [Show full text]
  • Stock up on Homespun Dvds for the Holidays!
    PRESENTS Happy Traum of Homespun shares the joy of music in the holiday season. ACCORDION BEGINNING BLUEGRASS BANJO LEARN TO PLAY taught by Pete Wernick STOCK UP ON CAJUN ACCORDION Pete (Dr. Banjo) Wernick will have taught by Dirk Powell HOMESPUN you picking right from the start of DVD 1: Powell teaches how to hold this DVD. By the time you finish, the instrument, use the bellows, DVDS FOR you’ll be accompanying songs, find the notes, and play “double” playing solos, and will have THE HOLIDAYS! (octaves). Includes detailed instruc- learned basic chords, slides, tion for playing some popular Cajun hammer-ons and pull-offs, right- dance tunes. 75 MIN • INCLUDES Now that DVD players are mainstream hand “rolls” in the three-finger bluegrass style and lots more. LYRICS • NOVICE LEVEL More than a dozen easy bluegrass songs are taught. in homes across the country, DVDs DVD 2: Covers topics such as ornamentation, syncopation, 100 MIN • INCLUDES TAB • NOVICE LEVEL phrasing, anticipating the bellows changes, creating rhythmic effects 00641606 DVD .....................................................$29.95 from Homespun will make great gifts and other techniques. 60 MIN • EARLY INTERMEDIATE LEVEL 00641849 2-DVD Set ............................................$49.95 for instrumentalists everywhere this HOW TO PLAY THE 00641844 DVD One Only .....................................$29.95 5-STRING BANJO holiday season! 00641845 DVD Two Only .....................................$29.95 taught by Pete Seeger with special guest appearance by Doc Watson TEX-MEX ACCORDION Covering all styles of music from America’s most beloved banjo taught by Flaco Jiménez picker teaches his playing bluegrass, jazz and country to folk, blues and Tim Alexander, techniques and more than a dozen with Max Baca, bajo sexto and rock, Homespun’s love of music and songs.
    [Show full text]
  • Ukulele CD List.Xlsx
    1 UKULELE: List of CDs 2015-08-24 Title Artist (Musicians) Extras Chotto Matte Kudasai (Wait for Me) / Ohta-san Ohta,Herb (Ohta-san) Photos Cool Touch / Various Ohta,Herb (Ohta-san) Lyrics Déjà Vu: The Romantic Sound of Ukulele / Various Ohta,Herb (Ohta-san) Liner Notes Duo: I'll Keep Remembering / Various Ohta,Herb (Ohta-san), Hamada, Funai Liner Notes Finer Things, The : The Songs of Herb Ohta and Jim Beloff Ohta, Herb and Jim Beloff Lyrics Herb Ohta meets Pete Jolly/ Various Ohta, Herb and Pete Jolly Photos Holiday for Strings - Ukulele Solo / Various Ohta,Herb (Ohta-san) Liner Notes Ka Mea Ho-okani 'ukulele: Ohta-san/ Various Ohta,Herb (Ohta-san) Liner Notes Manuela Boy / Various Ohta,Herb (Ohta-san) none Ohana-Ukulele Duo: Ohta-san & Herb Ohta, Jr. / Hawaiian Ohta-san and Herb Ohta, Jr. Liner Notes Ohta-san Trio: Hiroshima Japan 2001 / Various Ohta,Herb (Ohta-san), Albanese, Hamada None Ohta-san: Spotlight / Various Ohta,Herb (Ohta-san) Liner Notes Ohta-San: Together Again/ Various Ohta,Herb (Ohta-san) Liner Notes Rainforest/Herb Ohta Ohta,Herb (Ohta-san) Liner Notes Swing Time in Hawaii: Anita O'Day & Herb Ohta/ Various Ohta, Herb and Anita O'Day Liner Notes Tokyo Hot Club Band with Herb Ohta: Take a Holy-Day/Various Ohta,Herb (Ohta-san) Lyrics (some) Ukulele Bach / Bach/Gounod Ohta,Herb (Ohta-san) Liner Notes/Japanese Ukulele Bossa Nove: Tribute to Antonio Carlos Jobim/Various Ohta,Herb (Ohta-san) Liner Notes Ukulele Duo: Ohta-san "Herb Ohta" & Lyle Ritz / Various Ohta, Herb and Lyle Ritz Liner Notes Ukulele Romance/ Herb Ohta Jr.
    [Show full text]
  • Griffin Yours Till Forever / New York Boy Mp3, Flac, Wma
    Griffin Yours Till Forever / New York Boy mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Rock / Pop Album: Yours Till Forever / New York Boy Country: US Released: 1970 MP3 version RAR size: 1870 mb FLAC version RAR size: 1284 mb WMA version RAR size: 1650 mb Rating: 4.5 Votes: 559 Other Formats: VOX VOC MMF XM APE AHX WMA Tracklist Hide Credits Yours Till Forever A Written-By – Kenny Nolan New York Boy B Written-By – Neil Diamond Credits Arranged By – Tommy Oliver Bass – Lyle Ritz (tracks: A) Drums – Jim Gordon (tracks: A), Ron Tutt (tracks: A) Guitar – John Morell (tracks: A), Michael Anthony (tracks: A), Mike Deasy (tracks: A) Keyboards – Don Randi (tracks: A), Larry Muhoberac (tracks: A), Pete Jolly (tracks: A) Percussion – Frank Capp (tracks: A) Producer – Kelly L. Gordon* Saxophone – Thomas Scott* (tracks: A) Strings – Anthony Zungolo (tracks: A), Harry Bluestone (tracks: A), Mischa Russell (tracks: A), Richard S. Kaufman* (tracks: A), Shari Zippert (tracks: A) Trombone – Gilbert Falco* (tracks: A) Trumpet – William Peterson* (tracks: A), A.D. Brisbois* (tracks: A), Lou Klass (tracks: A) Vocals – Gary Duckworth (tracks: A), George Green (tracks: A), Mike Brady (tracks: A), Vince Morton (tracks: A) Woodwind – James Horn* (tracks: A) Related Music albums to Yours Till Forever / New York Boy by Griffin Various - The Count Basie Bunch: Cool Too Mike Peters - Breathe: The Acoustic Sessions Colouring - Colouring Dimension 5 - Unreleased Tracks [2] / Live Tracks [4] James Litherland - 4th Estate Bill Monroe - Classic Bluegrass Instrumentals Benny Goodman - Orchestras & Groups Spike Milligan - The Best Of Milligan's Wake/The World Of Beachcomber Sonny Stitt - The Verve Years Ronnie Spector - Best Christmas Ever Sam Morgan's Jazz Band / The Get-Happy Band / The Blue Ribbon Syncopators - Sam Morgan Etc.
    [Show full text]
  • It Ain't Gonna Rain No Mo' Extra Verses - Repeat Chorus After Each Verse
    I b'l WendeU 'Kall o FORSTER MUSIC PUBLISHER INC. ~35 SOUTH WABASH AVI!. CHICAGO Mississippi Mammy Erwin R Schmidt Marty Bloom CHORUS Slowly Casper Nathan I . · · ~fo"'o OM f",f'h' hI ISS-ISS-Ip - pi am-my cant you ear your oney am-my call -- ing? , , i .. ~ - . · ..........." · '" _-I · . · f' U-JU I p ~UUr · - • h_ i J .J ;;-::J I .. .... ~ I , , , ° ' 1 0' Mam-my 0' mille 1m pin-ing all 0' th e time 1 love you; , I ::::--...., - -, r I --- ~ . " oJ ..- IJ.......... i :.r - r. M r 1 vi - ~lJ~ .; .". ,., , ...--;. ,- L - · - -- " I I Cop!lrigAt MCMXX/P 0u For8ter Music Pull. Inc. ChicaGO MADE IN U.S.A Land Of My Sunset Dreams • CHORUS J WENDELL HALL. ~ss-zqnl ,v. , I TenderlY1f£tk J I Jr-J to. h L I I I I I · r r I I r r r r II ~r Oh take mc: back to the land of sun-set dreams,Underbright shining skies, In the light of y01l" , ~ 1'\ I• . , ,----.. , · - rtf· .. 1-6 . r .. ~~. • . .. I ~ -<II • • I~I (2. imP I I I J . - " .. · I ~ . I 1 I -<II /I I• , , I , I J L J I I I I I , , I r I I . r r r . I I. I I eyes, The ros hue on the gold - en tint-ed blue, Brings back all the sun-shine of - y ,, 1'\ 1--:---" . ;--..... " ~ ~ .. ~ r ... :~~ • •• -<II • • • • ~~ I. I . ,.." I I I I I, L-'"> I J . I I -z:. I '" I Copyright MCM.XXIV bY ForS1.4;:r Music Publisher Inc.,Chicag9.,1 D1.
    [Show full text]
  • Alternate Tuning Guide
    1 Alternate Tuning Guide by Bill Sethares New tunings inspire new musical thoughts. Belew is talented... But playing in alternate Alternate tunings let you play voicings and slide tunings is impossible on stage, retuning is a between chord forms that would normally be nightmare... strings break, wiggle and bend out impossible. They give access to nonstandard of tune, necks warp. And the alternative - carry- open strings. Playing familiar fingerings on an ing around five special guitars for five special unfamiliar fretboard is exciting - you never know tuning tunes - is a hassle. Back to EBGDAE. exactly what to expect. And working out familiar But all these "practical" reasons pale com- riffs on an unfamiliar fretboard often suggests pared to psychological inertia. "I've spent years new sound patterns and variations. This book mastering one tuning, why should I try others?" helps you explore alternative ways of making Because there are musical worlds waiting to be music. exploited. Once you have retuned and explored a Why is the standard guitar tuning standard? single alternate tuning, you'll be hooked by the Where did this strange combination of a major unexpected fingerings, the easy drone strings, 3rd and four perfect 4ths come from? There is a the "new" open chords. New tunings are a way to bit of history (view the guitar as a descendant of recapture the wonder you experienced when first the lute), a bit of technology (strings which are finding your way around the fretboard - but now too high and thin tend to break, those which are you can become proficient in a matter of days too low tend to be too soft), and a bit of chance.
    [Show full text]
  • Start Time Description Number-Cut Length User Defined 00:00:00 TOP
    Start Time Description Number-Cut Length User defined 00:00:00 TOP OF HOUR 00:00:00 RUN MACRO-ON AIR 00:00:00-E (:00)LEGAL ID 00:00:00-E (:00)Enjoy Yourself (It's Later Than You Thin 0069603-001 03:17:0 Artist - Guy Lombardo 00:03:17-E (:00)I STILL GET A THRILL 0145611-001 02:57:2 Artist - OZZIE NELSON AND HIS ORCH v OZZIE 00:06:14-E (:00)MAMA'S MAMBO (MAMA BIN ICH FARLIEBT) 0148806-001 02:35:5 Artist - IRVING FIELDS TRIO 00:08:50-E (:00)TALES FROM THE VIENNA WOODS 0149804-001 02:19:8 Artist - GUY LOMBARDO AND HIS ORCHESTRA 00:11:10-E (:00)MY MOTHER'S EYES 0159203-001 02:34:0 Artist - KENNY BALL AND HIS JAZZMEN 00:13:44-E (:00)FIDDLE FADDLE 0047118-001 02:55:6 Artist - THE THREE SUNS 00:16:40-E (:00)I WISH YOU LOVE 0170325-001 02:07:4 Artist - BLOSSOM DEARIE 00:18:47-E (:00)RIDIN' AROUND IN THE RAIN 0171407-001 02:36:4 Artist - RAIE DE COSTA 00:21:24-E (:00)You're Getting To Be A Habit With Me 1932 0172733-001 03:23:2 Artist - Ben Selvin HO v Muriel Sherman and Elmer Feldkamp 00:24:47-E (:00)DEEP IN THE HEART OF TEXAS 1942 0174154-001 02:40:6 Artist - BING CROSBY w WOODY HERMAN WC 00:27:28-E (:00)I'M ALWAYS CHASING RAINBOWS 1946 0174627-001 03:03:7 Artist - DICK HAYMES-HELEN FOREST 00:30:31-E (:00)Lonely Feet 1934 0003655-001 02:58:6 Artist - Harry Roy and his Orch v Harry Roy lmer Feldkamp 00:33:30-E (:00)MY TROUBLES ARE OVER 0175052-001 02:49:5 Artist - GUS ARNHEIM HO 00:36:20-E (:00)This Can't Be Lovel 1955 0181944-001 03:04:9 Artist - CAL TJADER 00:39:25-E (:00)Un Jeune Homme Chantait 1964 0182602-001 02:56:8 Artist - EDITH PIAF 00:42:22-E
    [Show full text]
  • Christopher A. Reynolds Collection of Women's Song
    http://oac.cdlib.org/findaid/ark:/13030/kt1t1nf085 No online items Inventory of the Christopher A. Reynolds Collection of Women's Song Sara Gunasekara & Jared Campbell Department of Special Collections General Library University of California, Davis Davis, CA 95616-5292 Phone: (530) 752-1621 Fax: (530) 754-5758 Email: [email protected] © 2013 The Regents of the University of California. All rights reserved. Inventory of the Christopher A. D-435 1 Reynolds Collection of Women's Song Collector: Reynolds, Christopher A. Title: Christopher A. Reynolds Collection of Women's Song Date (inclusive): circa 1800-1985 Extent: 15.3 linear feet Abstract: Christopher A. Reynolds, Professor of Music at the University of California, Davis, has identified and collected sheet music written by women composers active in North America and England. This collection contains over 3000 songs and song publications mostly published between 1850 and 1950. The collection is primarily made up of songs, but there are also many works for solo piano as well as anthems and part songs. In addition there are books written by the women song composers, a letter written by Virginia Gabriel in the 1860s, and four letters by Mrs. H.H.A. Beach to James Francis Cooke from the 1920s. Physical location: Researchers should contact Special Collections to request collections, as many are stored offsite. Repository: University of California, Davis. General Library. Dept. of Special Collections. Davis, California 95616-5292 Collection number: D-435 Language of Material: Collection materials in English Biography Christoper A. Reynolds received his PhD from Princeton University. He is Professor of Music at the University of Californa, Davis and author of Papal Patronage and the Music of St.
    [Show full text]
  • 1012 Banjo 1028 Dulcimer 1015 Fiddle 1017 Folk Harp 1019
    54460 Folk 1011-1042: 11/26/07 5:04 PM Page 1011 FOLK 1012 BANJO 1028 DULCIMER 1015 FIDDLE 1017 FOLK HARP 1019 HARMONICA 1022 HARMONICA PLAY-ALONG 1032 HOMESPUN AUDIO PACKS 1029 HOMESPUN LISTEN & LEARN SERIES 1023 MANDOLIN 1028 OUD 1028 PEDAL STEEL GUITAR 1028 PENNYWHISTLE 1025 UKULELE 1016 VIOLIN PLAY-ALONG FOLK 54460 Folk 1011-1042: 11/26/07 5:04 PM Page 1012 1012 BANJO HAL LEONARD BANJO METHOD BANJO SCALE CLAWHAMMER BANJO FINDER FROM BASIC FRAILING TO Authored by Mac Robertson, Robbie Clement and EASY-TO-USE GUIDE TO OVER MELODIC STYLE Will Schmid, this innovative method teaches 1,300 BANJO SCALES 5-string, bluegrass-style banjo. The method consists taught by Ken Perlman of two instruction books, two cross-referenced sup- by Chad Johnson Homespun plement books, and supplementary resources that Learn to play scales on the Please see the Homespun section for a complete offer the beginner a carefully-paced and interest- banjo with this comprehen- des cription. keeping approach to the bluegrass style. sive yet easy-to-use book. The ______00641570 Booklet/6-CDs.................$59.95 Banjo Scale Finder contains METHOD more than 1,300 scale dia - CLAWHAMMER BOOK 1 grams for the most often-used scales and modes, includ- STYLE ing multiple patterns for each scale. Also includes a les- BANJO Covers easy chord strums son on scale construction and a fingerboard chart of the A COMPLETE GUIDE FOR for the beginner; learning banjo neck. BEGINNING AND ADVANCED tablature; right-hand rolls ______00695780 9" x 12" Edition.................$6.95 BANJO PLAYERS characteristic of bluegrass; ______00695783 6" x 9" Edition...................$5.95 techniques such as ham- by Ken Perlman mer-ons, slides and pull- Centerstream offs.
    [Show full text]
  • Guitar Tunings
    Guitar tunings Guitar tunings assign pitches to the open strings of guitars, including acoustic guitars, electric guitars, and classical guitars. Tunings are described by the particular pitches denoted by notes in Western music. By convention, the notes are ordered from lowest-pitched string (i.e., the deepest bass note) to highest-pitched (thickest string to thinnest).[1] Standard tuning defines the string pitches as E, A, D, G, B, and E, from lowest (low E2) to highest (high E4). Standard tuning is used by most guitarists, and The range of a guitar with standard frequently used tunings can be understood as variations on standard tuning. tuning The term guitar tunings may refer to pitch sets other than standard tuning, also called nonstandard, alternative, or alternate. Some tunings are used for 0:00 MENU particular songs, and might be referred to by the song's title. There are Standard tuning (listen) hundreds of such tunings, often minor variants of established tunings. Communities of guitarists who share a musical tradition often use the same or similar tunings. Contents Standard and alternatives Standard Alternative String gauges Dropped tunings Open tunings Major key tunings Open D Open C Open G Creating any kind of open tuning Minor or “cross-note” tunings Other open chordal tunings Modal tunings Lowered (standard) E♭ tuning D tuning Regular tunings Major thirds and perfect fourths All fifths and “new standard tuning” Instrumental tunings Miscellaneous or “special” tunings 1 15 See also Notes Citation references References Further reading External links Standard and alternatives Standard Standard tuning is the tuning most frequently used on a six-string guitar and musicians assume this tuning by default if a specific alternate (or scordatura) is not mentioned.
    [Show full text]
  • Messages of American Popular Song to Women During World War II
    “I’m Doin’ It for Defense”: Messages of American Popular Song to Women during World War II A thesis submitted to the Graduate School of the University of Cincinnati in partial fulfillment of the requirements of the degree of MASTER OF MUSIC in the Division of Composition, Musicology, and Theory of the College-Conservatory of Music 2013 by Amy Brooks BM, Bob Jones University, 2008 Committee Chair: bruce d. mcclung, PhD Abstract World War II presented many new opportunities for American women. In this time of need, they were called upon to take an active part in the war effort, whether by means of working in a factory, growing a victory garden, or serving as a volunteer for wartime organizations. Women made great strides forward in areas such as the workforce and the military. The American popular song industry promoted these new roles for women. I have compiled over 150 songs from 1940 to1945 that relate to women’s roles during the World War II era. Of these songs, I have chosen a select number of songs that best demonstrate popular culture’s attitudes and actions towards women during the war. These songs can be divided into five categories: women in the military, women in the workforce, women’s war effort, women’s responsibilities to men in uniform, and women in the immediate post-war period. I have studied the representative songs by considering their lyrics to identify the objectives supported by the popular song industry. I took into consideration the venues in which they were presented and how these performances influenced their reception.
    [Show full text]
  • The 50 Greatest Rhythm Guitarists 12/25/11 9:25 AM
    GuitarPlayer: The 50 Greatest Rhythm Guitarists 12/25/11 9:25 AM | Sign-In | GO HOME NEWS ARTISTS LESSONS GEAR VIDEO COMMUNITY SUBSCRIBE The 50 Greatest Rhythm Guitarists Darrin Fox Tweet 1 Share Like 21 print ShareThis rss It’s pretty simple really: Whatever style of music you play— if your rhythm stinks, you stink. And deserving or not, guitarists have a reputation for having less-than-perfect time. But it’s not as if perfect meter makes you a perfect rhythm player. There’s something else. Something elusive. A swing, a feel, or a groove—you know it when you hear it, or feel it. Each player on this list has “it,” regardless of genre, and if there’s one lesson all of these players espouse it’s never take rhythm for granted. Ever. Deciding who made the list was not easy, however. In fact, at times it seemed downright impossible. What was eventually agreed upon was Hey Jazz Guy, October that the players included had to have a visceral impact on the music via 2011 their rhythm chops. Good riffs alone weren’t enough. An artist’s influence The Bluesy Beauty of Bent was also factored in, as many players on this list single-handedly Unisons changed the course of music with their guitar and a groove. As this list David Grissom’s Badass proves, rhythm guitar encompasses a multitude of musical disciplines. Bends There isn’t one “right” way to play rhythm, but there is one truism: If it feels good, it is good. The Fabulous Fretwork of Jon Herington David Grissom’s Awesome Open Strings Chuck Berry I don"t believe it A little trick for guitar chords on mandolin MERRY, MERRY Steve Howe is having a Chuck Berry changed the rhythmic landscape of popular music forever.
    [Show full text]