Bungalow Baby - A Tablature for Mandolin

The late Andy Townend’s ‘Bungalow Baby’ is on the ‘Echo Mountain Band’ album - originally issued by Westwood in the 1960s and now reissued on cassette by Bobb Records (I can supply copies). The version on that album is for two mandolins: I play the second part on the recording, but this arrangement was originally by Chris Cox, who played it with Andy when he worked with the ‘EMB’ in the late 60s, and on one occasion I believe they played it on the Radio 1 Jimmy Young Show! Chris has also been a prolific composer within the bluegrass style, and has after many years picked up his mandolin again and is recording a new album.

See also the Letters Page for more details.

Rick Townend (Andy's brother), Wadhurst, E. Sussex

Banjo Tab for Grey Eagle

Parts C and D are now included in the download This is the concluding part of a tab that started in the Nov. issue, with parts A and B

Playing Banjo in the Key of D

by Buddy Zincone

MANY BANJO PICKERS have a problem improvising in the keys of C or D out of open G or G capo 2. Following some discussion on the Acutab listserver concerning playing songs in the key of D which I joined in your editor was kind enough to ask if I would summarise my thoughts in this mag. I am pleased to do so!

As I think about playing in a particular key, I think primarily about tunings. Tunings and keys determine the fingering one must use to play a particular tune. I would suppose most of us play most songs using the G tuning and the G fingering while using a capo to attain the correct key. I certainly do from G to B. C is somewhat problematical.I would say I am 60% G tuning, C fingering (either G or C tuning) and 40% G tuning, G fingering, capoed at fret 5. Sometimes this is a no brainer. To play Dear One the World is Waiting for The Sunrise somewhat like Reno, one must use the C fingering in the G tuning. To play Rawhide in its original key, one must capo up five and play G fingering in the G tuning. Other times, especially with D, we have a choice.

Those choices are:

1. D tuning: aDF#AD, from the fifth string to the first. This requires special fingering only used with the D tuning or D tuning capoed.
2. C tuning (gCGBD) with the capo at fret 2, which yields aDADF# when you make the C chord shape.
3. G tuning (aDGBD) with the capo at fret 2, which yields aEAC#E and would be played using the same fingering one would use if playing in C. The D chord made like this would be aF#ADF#.
4. G tuning except for the 5th which is capoed up to A. For this method, one would play out of the D shape. Thus, the basic notes when one made the D chord would be aDADF#. 5. Capo up to the 7th fret, play in the G fingering, which yields the D chord aADF#A.

What is important about this list is that each combination of fingering, capo, and tuning listed above (except for 2 and 4) yields a different “voice” for the D chord. (Voice refers to the order in which the notes of the chord are played.) Because of the different voices, the particular notes one needs to play the melody and make the licks require different right and left hand movements. The choice between 2 and 4 above essentially depends on whether you need to use the open G chord for the song. Choosing alternative 2 means that the lowest G chord one could play would be that which is usually thought of as the “second position” or the F shape capoed two.

To me the essential deciding factor is in the right-hand fingering, and how I can get the licks. I would think almost everyone plays Rueben in the D tuning, for example. I play Ragtime Annie in G tuning, C fingering, capoed up two. Why? That’s where I can make it sound right. Similarly, I play Whiskey before Breakfast in the G tuning and what I call the D fingering. Why? Again the same answer; that’s where I can make it come out right. Different people, with different right hands, may be able to make another choice and have the tune sound right.

My advice is not to worry about what others are doing. How can you get the song to sound right. If someone comes along and wants to sing, say Foggy Mt. Top in D, the only way I can make that sound right is in the G fingering. Hence, I have to capo up7.

So for me the key is fingering. How does the melody fit in with what you are doing, especially the right hand. I have sat for hours before deciding exactly how I want to play the song.

In the end, let me paraphrase a quote from Bill Monroe that I heard somewhere. The essence was to learn to play one must first learn everything everyone else knows and then never play it. Be yourself; you’ll have more fun and play better.

Louis H. (Buddy) Zincone, 1730 Beaumont Drive, Greenville, NC. 27858, USA

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Gary Shaw (Westford, MA, USA, shaw@ll.mit.edu) comments:

“Eddie Collins has a book and tape devoted to playing banjo tunes in the key of D (available through several of the web sites) without a capo in open-G tuning (with 5th string sometimes tuned up to A). He also has one devoted to the key of C. These are not new, but also not well known.

“At $20 for the book and tape, its a worthwhile investment even if you only pick up a few new ideas, and it is interesting to learn to play familiar pieces in a different key (ie.without a capo). If you become practised at playing tunes in both G and either C or D from open-G tuning, you can handle just about any other key with a capo on frets 2-5.

“I got a copy from Janet Davis ($19.95), however Elderly ($18.70)and Hatfield Music ($20) also carry the 64 page book and accompanying cassette tape.”

1st Jan 2000