Big Mon (the tune)

[Alex Orr]

So, this has been suggested by both our banjo and fiddle player as a song they would really like to start playing in our somewhat ad hoc band. I tacitly agreed, somewhat because it's something of a standard, so it seems worth learning, and for the simple fact that I am hands down the worst musician in the group and sort've feel awkward turning down a song suggestion from two of our strongest players.

My issue with the song is the B part. The A part I can play just fine, and can hear enough of a melody that I can whistle it. The B-part though...

First off, I have a hard time telling if there's even much of a melody. I've probably played over a dozen versions today and I still have a hard time finding a strong, unique, melodic thread on that B-part. The version in the Bluegrass Fakebook sounds nothing like the Monroe version, in regards to the B-part, and IMO doesn't sound that great period. I've played a couple of versions from the mandozine tabs and I'm still not entirely happy with them; some are just too complicated for me to get up to speed, and the Monroe tab doesn't sound much like his break at all, at least on the recording I have from the Music of Bill Monroe box set. At the very least, Monroe uses a lot more double stops than the mandozine tabs show for his break.

How do you folks who play this tune approach that B-part? Any advice on ways to preserve some economy of motion? At the speed we're probably going to end up doing it, the less note-y I can make it the better. Looking for some ways to use chord shapes and double stops to make it easier. Also, since there seems so to be so little melody, I figure the tune lends itself well to some ample use of chord fills.

[Coy Wylie]

I don't hear much melody in the B part either. I improvise it primarily using double-stops blended with some A-based pentatonic licks and find this gives a nice contrast to the more notey A part. I really like the groove of this tune and there is so much you can do with it lick-wise.

[John Duncan]

I think your best bet is to emulate what Bobby Hicks is doing on the B part. I get to hang out with Bobby and pick with him almost every week at his house. It is an incredible blessing. He definitely feels that there is a strong melody to be stated on this one.

There are two very good recordings of how he plays that tune. It sounds like you have the Decca record. The other one would be his "Texas Crapshooter" record that has Sam Bush playing mandolin.

If you want a cool less notey approximation of the melody you should check out this video of how Compton plays it:



Big Mon is a really unique original bluegrass instrumental, imho, that has been really simplified as it has become more and more of a jam standard.

[250sc]

I don't have a problem finding the melody in the A or B part. The only thing with the B part is the first measure uses double stops rather than single notes.

I'll look for a simple version for you and post a link or something.

[Glassweb]

just a note of interest... Monroe recorded that tune and Monroe's Hornpipe using an F4 in place of his famous Loar F5.

[Don Grieser]

I believe the Mike Compton version would be the one to study.

[250sc]

Check out the first time through on Peaks of Telluride by Sam Bush. Fiddle but you can hear the melody. You can also check out a bunch of tabs on Mandozine.com.

[AlanN]

Sam also plays it on fiddle on Late As Usual, slow then fast. There is melody there.

And for the daredevils, check out Steffey on The Young Mando Monsters. Ah say, Ah say, Ah say....

[Perry]

Sam also plays it on fiddle on Late As Usual, slow then fast. There is melody there.

And for the daredevils, check out Steffey on The Young Mando Monsters. Ah say, Ah say, Ah say....

And don't forget the A variation...fiddle shuffle on G&D strings. See Sam Bush DVD #1 an Dave Peter's book.

[MONami]

I understand your plight, but what about the C part, the one that moves from the low strings up to the open A.
I cannot get that to sound right!

[mandolirius]

The thing that's always confused me about "Big Mon" is the main lick that opens the A part. Do people play the C or the C#? They both work. I think Bill played a C note.

[AlanN]

This is a good question. I usually do the major 3rd, I think Dawggie got the flat 3 on the Tony Rice version. The beauty of this number is the harmony vibe on the A part, especially with 2 mandolins.

"This band has 2 mandolins in it. He plays 1 mandolin, I play the other."