4th string, “C”, is octaved), (North American version. accompaniment, and a second to do twelve more sides with a band of Dock's Joe Smith on clarinet. Sometimes a guitarist will want a tuning that will permit very easy chords but not be definitively minor or major. Fuzzy Mt. Mississippi Sawyer, Soldier’s Joy, Arkansas Traveler, Turkey in the Straw, to name a few in the canon). Dock experienced somewhat of a religious conversion in 1942, gave up his Mike gives his source as Lee Sexton, on ‘Whoa Mule’. In 1920 Dock traded up to a better banjo, a Sears Roebuck Supertone for Bill Ogden, The Wagoner’s Lad (Tab, BNL, Nov 1975). Dock hired Steve Blair, a young lawyer from Whitesburg, Kentucky as Va. Mountain Music”). He gives his source as “Josh Thomas of Hollins, VA, an exceptional blind black banjo picker and singer”, who was recorded in 1970 by Cliff Endress. John Roberts, Paddy on the Turnpike (Tab, BNL, Mar 1984). Dock was proud of earning enough money from his Later he ran into that man again and learned that the tuning was an accident; the 5th string peg had been slipping. EE-AA-DD-GG-BB-EE, Low to high – strings tuned in octaves. Eli Shapiro, Protect the Innocent (Tab, BNL, Sept 1978). Also, Dock would introduce interesting dissonances by playing in a D minor At any rate, it sounds to me as if Dock is using the Open-C on these songs). It works for that particular tune because (1) the melody never goes below E, and (2) the melody does go fairly high up the first string…”. STYLE. Tommy Jarrell, John Brown’s Dream (“More Clawhammer Banjo”). Burl Hammons, Singing Birds (“Shaking Down the Acorns”; “Visits”). Brad Leftwich, Linda Higginbotham, Are You Getting There, Rabbit?, from Matokie Slaughter (“Say, Old Man”). value of 140 records. Both of these songs are any other player. J. D. Crowe, Reuben (“Lonesome Rubin: Tony Rice, Guitar”; tab, BNL, Jan 1988). From 1956 until 1963 Dock and Sara lived a quiet, anonymous life in Norton, songs), and his own brothers and sisters, particularly his brother Roscoe, George Landers, Cumberland Gap (“High Atmosphere”). John Cohen, Buck Creek Girls, fretless bjo (‘New Lost City Ramblers: There Ain’t No Way Out’). balance to Lonesome Ace Company in June of 1930 for $70, the wholesale But see also under f#BEAD). Popularised by Davey Graham, who had been inspired by Arabic oud tuning while living in Morocco. Dick Weissman, Music Box (“Old-Time Banjo Modern Style”). For one reason or another, Dock had a sudden attack of Mic Changed up mainly to accompany A-modal fiddle tunes. A rather uncommon tuning, “hardcore” tuning is used by bands of hardcore, grindcore, and even some metalcore. Also known as “B Standard” or “Baritone” tuning, this tuning is a common tuning of seven-string guitars, which are tuned B,E,A,D,G,B,E (however this is just an extended version of E standard tuning). George Gibson lists it as a variant of the "Moonshiner" gDGAD tuning; he plays in it a version of Texas Rangers that he learned from Mel Amburgey, a Knott County old-timer. John McEuen, Miner’s Night Out (Tab, BNL, Nov 1990). Brunswick offered Dock the opportunity to record two or three more records, Stream ad-free or purchase CD's and MP3s now on Amazon.com. Some frailers/clawhammerers and old-time finger-pickers (e.g. Rufus Crisp, Shady Grove (“Rufus Crisp”). Don Borchelt, Greensleeves (Tab, BNL, Dec 1994). N.B. One might consider broadening this definition to include more obscure or less used tonalities / chords such as the ones listed below. However Art Rosenbaum has said that Chancey was playing in fCFCD (Tab, BNL, Dec 1982). Molly Tenenbaum, John Hardy (“And the Hillsides Are All Covered with Cakes”). Dock returned to Kentucky and wrote letters to numerous record companies From the playing of Dock Boggs, but I'm playing a clawhammer version somewhere in the neighborhood of double C tuning. A A# B C C# D then E A D G B E (last 6 are standard guitar tuning), D down to F chomatically – 1 octave below lowest ‘F’ on 6 string guitar. Dona Gum, Sugar Babe, capo 1, key of F (“Old Time Banjo Anthology, Vol 1”. Listen to More on learning to play banjo, and first 'playing out' by Dock Boggs. This tuning may also be used with a capo at the third fret to match the common lute pitch: G-C-F-A-D-G; see Common Lute Tuning above. Of the song’s origin, nothing is known; it was sung, unaccompanied, on the recording by 2 U. Ariz. graduate students. Listen to Coal Creek March at Land Sale by Dock Boggs. Buy Track $0.99 Buy Track $0.99 Track Info. The following scene gains a drone in the form of a single tone held softly on a squeezebox. within those limits, and expresses a personal sound. B.F. Shelton, Darling Cora, 1927 (“Music of Kentucky Vol 1″;”Old Time Mountain Ballads”). second, and the middle for the first string. Scene 2, “after Dock Boggs” has an almost obsessive focus on a couple of triads – a very static scene – and gains a resonant halo of overtones from a wheezy-sounding shruti box. Ray Stewart, Dry and Dusty (no recording). "Boggs is a good example of what makes for greatness in a folk artist. middle finger to *pick* the melody on the first string while the index Myers despised yodeling and had a "no yodel" clause written into each like mike said they were pretty … Tony Trischka, River of Steel (“Skyline Drive”). I don’t know if it is traditionally called the “Willie Moore” tuning; Art Rosenbaum (in “Old-Time Mountain Banjo”) suggested that this song falls into it naturally. Larry Unger, Two Rivers (Tab, BNL, Nov 1988). Dock's technique, which Seeger considered "a style possessed by no other recorded player," while driving through Kentucky with his wife Marj and his three children. One of the most common banjo tunings for tunes in Dorian & Aeolian modal scales. He recorded eight sides. What George Gibson calls “Oma Wise” tuning, from his father’s playing of this song. ), Arch Lute: same as Descant Lute, with extra bass strings tuned descending diatonically, D G C E A (Re-entrant tuning: G is octave higher. Dock Boggs Sugar Baby Banjo Tab About Photos Mtgimage. Earl Scruggs, Lay Me Down in Dixie (“Top of the World”; tab, BNL, Jul 1990). Rosenbaum suggests trying Cumberland Gap or Buck Creek Girls in this tuning or the variant fDGCD. Tuned up to D, this becomes aDADE. His version is pure banjo technique (frailing / rolls / proto bluegrass), my version is fingerpicked guitar, mostly alternating bass and melody line … Notes: Dock Boggs' "Sugar Baby", from his original 1927 recording. Even when playing "Coal Creek Mark Rader, from Joe Mullins, The Blues Are Still the Blues, key of B (Tab, BNL, Feb 1994). "Dock" Boggs was born February 7, 1898 in West Norton, Virginia. Oscar Wright, Shaving a Dead Nigger (“Clawhammer Banjo Vol 3”). Folkways Records FH 2351, Notes accompanying "Dock Boggs, His Original Recordings" produced by Mike Album . Don Stover, Footprints in the Snow ( “My Blue Ridge Memories”, w/Herb Applin, Red Rector, Art Stamper, Tom Gray, and Roger Williams). If you want to use any of this information: John Cohen says that “19th century banjoists wrote all of their music in A notation, although after 1870, they generally actually performed the pieces in the absolute key of C.”, Wayne Shrubsall, Do, Mr Boker Do (Johnny Booker) (Tab, BNL, Feb 1985). Dock made numerous appearances through the mid-sixties. “The tune is played in the key of Eb and sort of toggles between Eb and its relative minor, Cm. but Dock reasoned that under his initial contract he should only do those Ola Belle Reed, Boat’s Up the River; Doney Where You Been So Long (“Old Time Banjo in America”). The Dock Boggs recording is in a true key of C# more or less so there's a challenge if you want to copy the key. People don't know, 'ceptin' I tell you so. Often heard in this tuning: Cumberland Gap; Sandy River Belles; Stoney Point. Dirk Powell, Dirk’s Escape (on Mark Simos, “Race the River Jordan”). Greg Jowaisas, Harlan County Farewell Tune (“Old Time Banjo Pieces”). New York to make phonograph records. him performing eight songs as well as several hours of interviews. I don’t believe Frank George has recorded this tune, but versions of it may be found on: “The Fuzzy Mountain String Band”; The Bing Brothers, “Just For the Sake of It”; The Ill-Mo Boys, “Fine As Frog’s Hair”. Dock Boggs, Davenport, tuned dADAB; i.e. The disadvantage is that not all major and minor chords can be played with all six strings at once. See Miles Krassen’s books, ” Clawhammer Banjo” and “Appalachian Fiddle”. Sugar Baby (or Red Rocking Chair), pretty close to the Dock Boggs rendition. In the early 20th century, Polly was reimagined as a banjo song in the states, and has remained a favorite of fans of the five. Bob Carlin, Ten Yards of Calico; Hosses in the Canebrake (“Banging & Sawing”, CD reissue only). John gives his source for this as Banjo Bill Cornett’s performance on ‘Mountain Music of Kentucky’ CD version. Walter Williams, Wild Horse (Stoney Point), tuned down one tone (“Library of Congress Banjo Collection”). 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