Week #332 ~ Cindy

  1. Barbara Shultz
    Barbara Shultz
    Well, it took an extra day, but the voting picked up, and we finally had a winner! This week's winner is Cindy, which was submitted as an Old Time tune. I'm not familiar with it!

    Here is what I've found!

    Here is notation from abcnotation.com from the John Chambers collection.

    This is from Mel Bay's Mandolin Sessions.





  2. Michael Pastucha
    Michael Pastucha
    What a blast from the past: Buffy Sainte-Marie and Pete Seeger! Love it...

    Here's Get Along Home Cindy as a mandolin instrumental. It's in the key of G and moves right along.

  3. Michael Pastucha
    Michael Pastucha
    Well played right back at you, David! You put much more of the melody in there than I managed to.

    As for my lighting, I used my new battery powered LED video light. It's not very expensive but has enough power to light one of our videos. (It's a Neewer LED308 mounted on a mic stand about 3 ft. from my mandolin. And because it's LED there isn't a lot of heat involved.)
  4. Marcelyn
    Marcelyn
    Both of y'all sound fantastic! What cool versions to start off with. I really love how the Mandonator sounds with that banjo David.
  5. John Kelly
    John Kelly
    Two very different but equally appealing versions, Michael and David. The lighting is indeed interesting and the idea of LED is so sensible, both for lack of heat and for economy!
  6. Marcelyn
    Marcelyn
    Here's a real quick runthrough from Jeff and me. What a fun tune!
  7. woodenfingers
    woodenfingers
    Well, SAW is off to a flying start this week. Great work. I need to figure out what Stuche was doing there, it was wonderful. David, you sound fantastic with the mandonator, got to get me one. And, Marcy and Jeff, well done, great vocals. You two always have a lot of fun.

    I thought I would give you some honey bees to swarm around Cindy's mouth. One of my bees, coincidently named Cindy, was out working the goldenrod but she needs to get back home because it's a dangerous world out there for her...

  8. Michael Pastucha
    Michael Pastucha
    Nicely done Woodenfingers... both the mandolin and fiddle sounded especially nice. (What I was doing on my version was a bunch of bluegrass licks and double stops over the chord progression with only enough melody to make it almost recognizable. The two parts I tried to put in from the melody were: "Wish I was an apple... and Get Along Home, Cindy". A lot of bluegrass is done that way.

    Great old timey version from Jeff and Marcy. Jeff's interstellar banjo playing is amazing. It was nice to hear Marcy's authentic old time mandolin. As for her vocals they were great. (A little trick I use when I forget lyrics is to always sing this verse: "Bake them biscuits baby, bake 'em good and brown, when you get them biscuits baked, we're Alabamy bound". If you ever hear me in concert you're liable to hear this verse maybe three or four times a night... in various songs. Sometimes even in Pig in a Pen where it belongs.)
  9. Frithjof
    Frithjof
    All the discussions about this group are important. And I read them with interest.
    But these submissions above shows SAW is still alive. Great, I like them all! Iím so happy while watching you.
  10. woodenfingers
    woodenfingers
    Michael, you are very charitable with my fiddle playing, thanks.

    In theory I know what you are doing, I just can't figure out in practice how you did it. I sit and watch your fingers but they fly so fast I can't determine what's going on and where on the fretboard you are picking up the chord patterns. It just blows my mind. Any chance of you editing or recording that way slower - with a good shot of your left hand again?? It's ambitious for me to think I could duplicate it but it could give me some licks and progressions to work on. It's a direction I need to head.

    Bob
  11. Marcelyn
    Marcelyn
    You're getting some really nice tone on your fiddle, Bob. It's sounding great.
    Thanks for the tip Michael. I tried it out in several tunes, and that does seem to be the verse that fits just about anywhere.
  12. Michael Pastucha
    Michael Pastucha
    Marcy: Bake them biscuits baby!

    woodenfingers: First of all, thanks for thinking that mess of licks of mine was worth studying. Second, I recorded a slow version with a close up of my hands. The way I play is off the cuff, but I did try and use the same positions as the fast video, however the actual solos are a bit different but you'll get the idea.

    As you watch look for the two and three note partial chord positions I use to build the breaks around. They are (in no particular order):

    To read these chord diagrams remember the low note is on the left and the high note is on the right. Thus the open strings of the mandolin would be: | 0000 | or the notes GDAE

    G 00xx and 0023 | G 05xx | G 452x | G 0523 and x523 | G 0053 |. Up the neck a bit we have: G 755x | G x 9 5 x | G x 9 10 x | G x x 10 7 |

    For C we have: C x23x | C x57x | C xx33 | C xx73 | C 0230 |

    For D we have: D 20xx | D 2002 | D 70xx | D 75xx | D x45x | D x452 | D xx55 |
    D xx95 | D xx 9 10 |

    What do I do with all these partial chords? (I've memorized them first of all.) They are the positions I hold when I play my licks. The licks come from a variety of sources but are mostly from the major scale of G, or the mixolydian scale of G (flattened 7th), G blues scale and G minor pentatonic scale with the melody and my ear as my guide. I've also figured out that most of these chord shapes can be moved around and when you do they become different chords.

    Do I practice these scales? Only the parts as they pertain to my chord positions and the open scales.

    What I really do is build up my favorite collection of licks built around each chord position, find the melody, and dress it up with these licks. It takes a lot of work, but heck, everything worth doing is that way... Hope this helps!

  13. woodenfingers
    woodenfingers
    Hey Michael, Thanks a lot for that, I appreciate the work you put into doing it. I can see and hear the individual phrases a lot better and I have been able to imitate a few bits of it. I definitely like the C slide from x23x to x57x. Playing with that I found the C slide can then lead to a D slide from x45x to x79x then hit the G at xx10x and then circle back around on the G, cool.

    I really like the blues feel you get in your breaks. In jams I have been playing pentatonic patterns with reasonable success but need to get more transition licks, double stops, and blues runs. I will get more of them out of your video so again, thanks a lot.
  14. JLewis
    JLewis
    Wow. Thanks Michael. That's a great resource you've provided. I'll be studying that vid and looking for ways to apply it in other tunes as well.
  15. woodenfingers
    woodenfingers
    I took a piece of what I learnt from Michael's slow take on Cindy and devised a bit that includes double stops and slides. Hard to play cleanly right now but with more practice it could get better...



    I'm a fan of ffcp and this is all played with my left hand index finger referenced on the G at x5xx
  16. Michael Pastucha
    Michael Pastucha
    That sounds really authenticate to my ears. Nicely done wooden fingers!
  17. JL277z
    JL277z
    Really nice versions from everyone, very enjoyable to listen to! Also thanks Michael for the extra info, it's exactly the info I've been looking for lately, thanks again!
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