Free Download Mp3 Super Junior M Album Break Down
Genre: Bluegrass Style: Bluegrass (Scruggs) Key: G Tuning: Standard Open G (gDGBD) Difficulty: Intermediate Posted by, updated: - 3 Download: Notes: In addition to creating melodic style, IMHO in parallel to and independently of Carroll Best and Bobby Thompson, Bill Keith introduced to basic Scruggs style layers of elegance, complexity, and subtlety that had not been heard before he appeared on the stage. Here is one simple example that says it all, the first few measures of the first break in the song “Livin’ on the Mountain,” from Keith and Rooney’s album of the same name. Keith took one of Scruggs’s standard licks, employing a forward-backward roll with a pull-off on the third string, and threw in a subtle twist by pulling off to the fifth string and pivoting to the open third. Compare Keith’s version to Scruggs’s in the tab, and you will get my drift. When I heard this in 1963 or 1964, I realized that Bill Keith had opened new horizons on the banjo.
Genre: Classical Style: Bluegrass (Scruggs) Key: C Tuning: Drop C (gCGBD) Difficulty: Intermediate Posted by, updated: 7/21/2013 - 2 Download: Notes: Here is Bill Keith's arrangement of 'A Mighty Fortress' by Martin Luther. This was taken from his performance at the Grey Fox Bluegrass Festival in 2010, which was posted to YouTube: He makes a comment that he 'Can't play this standing up'. It requires very large and/or extremely flexible hands. I can't really play it sitting down. Genre: Old Time Style: Clawhammer and Old-Time Key: G Tuning: Standard Open G (gDGBD) Difficulty: Intermediate Posted by, updated: 9/6/2013 Download: - Notes: Alternate tab and midi available under 'All God's Critters'.
Search free song and mp3. Super Junior M Break Down. Super Junior M - Break Down (Chinese Ver.) Duration: 03:21 Size: 3.08 MB. Play Download. Super Junior-M Break Down. Super Junior-M 'Break Down' album highlight medley. Duration: 01:25 Size: 1.31 MB. Play Download. Super Junior-M - Break.
This tab is a combination beginner and intermediate. Very important to have a drop-thumb at least at measure 7. Alternate drop-thumbs are shown, with a link to the Celtic Thunder version, which has a Scruggs style banjo back-up.
Also an entertaining Youtube version available @ Linked to Gospel Lover's group, although not truly Gospel, it's just inspiring. Includes lyrics. Also added to Beginner Clawhammer group.
Genre: Fiddle/Celtic/Irish Style: Clawhammer and Old-Time Key: G Tuning: Standard Open G (gDGBD) Difficulty: Beginner Posted by, updated: 5/11/2015 Download: Notes: This is number 222 in O'Neil's Music of Ireland. It's a simple 3/4 tune mostly in quarter notes.
I've 'banjoed' it up quite a bit - making it eighth notes everywhere. The tune doesn't sound particularly Irish to start with, but the banjo treatment here really makes it sound like something from the Old West. The process is probably a more conscious attempt to emulate something in modern times that evolved naturally historically. I've rated the difficulty here as beginner despite a small amount of drop-thumbing. I quite like this version, and I hope you do too, but now I have to decide whether this is just the starting point, and whether or not I should continue on with some fancier variations. Genre: Bluegrass Style: Bluegrass (Scruggs) Key: G Tuning: Standard Open G (gDGBD) Difficulty: Intermediate Posted by, updated: - 2 Download: Notes: Breaks to this old warhorse by three of the greats - and now I know where many of my 'original' ideas came from. The exact picking on Stover's break was hard to hear, but I think I came close to capturing it.
The chokes up the neck on Scruggs's break should be played with vigor. It probably helps to hear the original recording, which you can find on www.sugarmegs.org.
Free Download Mp3 Super Junior M Album Break Download
Crowe's break ends on a whimsical statement of the melody, and you can find this concert recording also on sugarmegs. Genre: Bluegrass Style: Bluegrass (Scruggs) Key: C Tuning: Standard Open G (gDGBD) Difficulty: Expert Posted by, updated: 1/2/2010 Download: Notes: An old pop song from the 'teens, Alabama Jubilee. This is great fun to play, and an excellent tune to jam on as the chord progression lends itself well to improvisation.
The two breaks presented here are the melody and a variation closely based on the melody. It has some rolls that are kinda difficult to pull off at higher speeds, mainly the 'Dixie Breakdown Roll', so practice, of course, is in order.
A rarely played gem; teach it to your local jam and you'll have a blast! Has a Rhythm Guitar & Bass rhythm track. Genre: Rock Style: Bluegrass (Scruggs) Key: Am Tuning: Standard Open G (gDGBD) Difficulty: Intermediate Posted by, updated: 6/14/2010 Download: Notes: This version of All My Loving by the Beatles is based on an arrangement by Tom Arri. This version is slightly different from Tom’s arrangement and it contains Harrison’s guitar solo rearranged for banjo. I thought about adding the triplet guitar rhythm to really make it sound like the Beatles, but ended up not adding it because it muddied the arrangement. If you want to hear how the triplets would have changed the arrangement, I left part of it in module 5 of the TablEdit file. Genre: Jazz Style: Bluegrass (Scruggs) Key: C Tuning: Standard Open G (gDGBD) Difficulty: Intermediate Posted by, updated: - 1 Download: Notes: Here is one break to the jazz super-standard 'All Of Me'.
The rhythm of the melody has been banjo-fied somewhat, though the chords (still open, Bluegrass chords) are authentic, including a flat-five chord. It's still more of a bluegrass take on a jazz tunes more than jazz banjo. Has some Reno in it. Has a Rhythm Guitar & Bass rhythm track. Genre: Old Time Style: Clawhammer and Old-Time Key: G Tuning: Standard Open G (gDGBD) Difficulty: Beginner Posted by, updated: 6/6/2016 - 1 Download: Notes: I posted this example to demonstrate how to make alternate string pull off and alternate string hammer on in TablEdit which are common techniques used in clawhammer playing.
In this example I am referring to the banjo rhythm as “bum-pa-di-ty” Alternate pull off (example first string) is indicated by making a fake fretted note: 1.Write 2 (fret 2) on the first string on the “bum” 2.Put a Po(pull off) on it 3.Write 0 on the first string on the “pa” 4.Put the cursor on first “fake” note (2) 5.In the dynamics bar choose ppp. Now it is shown as 2 0 in TablEdit but when you print the tab the 2 will not be printed. And it will not be sounded on the midi file (all ppp notes are silent). Or if you make a pdf of it, the 2 will not be shown. ̯ The alternate hammer on is in the same way. Write a fake unfretted note: 1.Write 0 (fret 2) on the first string on the “bum” 2.Put a Ho (Hammer on) on it 3.Write 2 on the first string on the “pa” 4.Put the cursor on first “fake” note (0) 5.In the dynamics bar choose ppp.
Genre: Bluegrass Style: Bluegrass (Scruggs) Key: G Tuning: Standard Open G (gDGBD) Difficulty: Beginner Posted by, updated: 3/30/2013 - 1 Download: Notes: I was pondering good songs to introduce my students to 3/4 timing. I asked Ira Gitlin, a fabulous teacher and wonderful contributor to the Hangout, and he suggested Amazing Grace. There weren't any tabs here that I liked very much, so I came up with this. The first time through is super simple, and has mostly melody notes with a few fills. The second time through is a little more complicated and incorporates some melodic elements. The third includes a simple vamping backup using closed chord positions. Genre: Popular Style: Bluegrass (Scruggs) Key: C Tuning: Standard Open G (gDGBD) Difficulty: Intermediate Posted by, updated: 8/22/2012 Download: Notes: Notes: This tab is included in my book, 'Bluegrass Banjo from All Sides', which is scheduled for release by Mel Bay in September 2012.
The book contains multiple versions of 15 tunes. 'America the Beautiful' is presented here in two keys, G and C. This arrangement in C is easier to play than the G arrangement.
You can hear these two tabs played in my MyHangout MP3 library. Genre: Popular Style: Bluegrass (Scruggs) Key: G Tuning: Standard Open G (gDGBD) Difficulty: Expert Posted by, updated: 8/22/2012 Download: Notes: This tab is included in my book, 'Bluegrass Banjo from All Sides', which is scheduled for release by Mel Bay in September 2012. The book contains multiple versions of 15 tunes.
'America the Beautiful' is presented here in two keys, G and C. The arrangement in C is easier to play. This is the G arrangement. You can hear these two tabs played in my MyHangout MP3 library.
Genre: Fiddle/Celtic/Irish Style: Unknown/None Chosen Key: Am Tuning: Standard Open G (gDGBD) Difficulty: Expert Posted by, updated: 4/16/2013 - Notes: The famous Irish air and lament about an 1828 boating accident near Galway town, based on Dolly MacMahon's sean-nos version in A Dorian. This is a highly ornamented setting for advanced players, similar to the arrangements one can find in my first tune collection, Mel Bay's Complete Book of Irish & Celtic 5-String Banjo. This tune can also be played in 3/4 and in 6/8, as a jig, known as 'The Sheep in the Boat' (Junior Crehan). Genre: Fiddle/Celtic/Irish Style: Other Key: Am Tuning: Standard Open G (gDGBD) Difficulty: Beginner Posted by, updated: - Notes: This is a beginner's arrangement like one would find in my most recent tune collection, Mel Bay's Easy Irish & Celtic Melodies for 5-String Banjo: Best-Loved Airs and Session Tunes.
Here is a bare bones arrangement of the famous Irish air and lament about an 1828 boating accident near Galway town, based on Dolly MacMahon's sean-nos version in A Dorian. It can also be played in 3/4 and in 6/8, as a jig, known as 'The Sheep in the Boat' (Junior Crehan). Compare this arrangement with the highly ornamented version of 'Anach Cuain' (Air/Lament), for advanced players. Genre: Old Time Style: Clawhammer and Old-Time Key: G Tuning: Standard Open G (gDGBD) Difficulty: Expert Posted by, updated: 4/4/2013 Download: Notes: “And the Cat Came Back The Very Next Day”, from Doc Roberts: I have long been an admirer of Doc’s fiddling. He infuses his rich repertoire of tunes with a distinct bluesy sound characterized by powerful, yet smooth bowing and remarkably clear intonation. First, I learned to play this tune on the fiddle. Eventually I was able to eke out a fair approximation of The Cat.
I would dust it off from time to time, but really did not fully commit to it, in part because I didn’t feel fully confident in my fiddling. But of course, it kept coming back, insisting that I give it the attention it deserved, so that now it lays curled up comfortably at the fire amongst the other familiar G tunes. I suppose it became jealous of my time on the banjo, so slyly crept into my clawhammer fingers, where it sits now as a banjo favorite. One of the charms of Doc’s fiddle version, is how the tune wanders in no obvious pattern (at least to me) between what I am labeling the A, B, and C parts. In order to share more easily with others, I play it as AABBCC.
A brief bio of Doc Roberts compiled from the internet (Wikipedia and other sources) Dock Philipine Roberts was born in 1898 near Kirksville, Madison County, and learned to play the fiddle at an early age with some help from his older brother Liebert. Doc's and Liebert's musical mentor was the African-American fiddler Owen Walker who was born in 1857, and taught Roberts most of his tunes. After finishing his studies in Berea Roberts married in 1913. In 1925, a talent scout, Dennis Taylor, recruited Roberts along with Welby Toomey and Edgar Boaz as old time recording artists for Gennet Records In early 1927, Roberts recorded with the string band, the 'Booker Family'. Together with Dick Parman and Ted Chestnut, he formed the Kentucky Thorobreds.
They recorded in April 1927 for Paramount. In the fall of 1927, teamed up with Asa Martin as Martin & Roberts. They made their recording debut in May 1928 for the Gennett label. Between 1927-1934, the duo performed at fiddler's conventions, in schoolhouses, on vaudeville stages, and on radio (WHAS in Louisville, Kentucky). Martin & Roberts recorded altogether more than 200 sides on 11 different labels. Later on, with the addition of Doc Roberts' son James, the Fiddlin' Doc Roberts Trio was formed. In 1928, Roberts was hired, through the agency of Bradley Kincaid, by the National Barn Dance radio show in Chicago.
He was paid $50 a week. After only two weeks he quit the show and moved back to Kentucky because he was unable to sleep due to the noise of the big city.
The Doc Roberts Trio lasted until 1934 when Roberts retired as a recording artist. During the next 4 decades, he continued to make personal appearances and occasional radio works.
He died at the age of 81 in his hometown of Richmond. The Cat Came Back: I first heard “The Cat Came Back” as a camp song.
The melody in Doc’s version, seemed completely separate from my vague memory of that song, so I didn’t give it much more thought. However, in preparation for this post, I conducted an internet search and quickly discovered 1) The first commercial recording of 'The Cat Came Back' was by Fiddlin’ John Carson (OKeh 40119) in April 1924.
It doesn’t sound at all like Doc’s version 'And The Cat Came Back The Very Next Day', recorded on Gennett 3235 on November 13, 1925. However, the Fiddlin’ John’s version appears directly related the Harry S. Miller Song of 1893: 'The Cat Came Back: A Nigger Absurdity.'
The racism that runs through much of American popular culture is revealed again. I don’t like reporting this, but just thought you should know. Genre: Bluegrass Style: Other Key: D Tuning: Standard Open G (gDGBD) Difficulty: Intermediate Posted by, updated: 1/21/2010 Download: Notes: Here's a bluegrassy version of this old-time tune, in standard G tuning, a fiery melodic version based loosely on fiddler Stuart Duncan's variations with the Nashville Bluegrass Band. I have tried to keep the melody flowing at all times, adding fill notes while keeping the main notes in the usual places, using slides, syncopation, pinches and pull-offs to keep it in the bluegrass camp. Genre: Bluegrass Style: Other Key: D Difficulty: Expert Posted by, updated: 8/4/2011 - 1 Download: MIDI - Notes: I don't play banjo, but I made a solo guitar arrangement of the Bela Fleck banjo (/Jerry Douglas dobro) tune Another Morning. I had seen requests for 'Another Morning Part B' on the forums here, so I thought I'd post the TEF file.
( I'm hoping some kind and more experienced member could easily use Tabledit to cut and paste over to appropriately tuned banjo and clean up, since I'd have no idea! ) For 'part B' of this tune, Bela does a variety of counter-melodies/rhythms behind the dobro, which carries the main melody +/- 'chords'. I made a solo guitar practice arrangement capturing the total effect, most of the banjo, and the dobro accent/sustain where needed. I think I captured all the main melodic/rhythmic motifs Bela uses, which can be combined in endless ways over the basic chords/rhythm. I think my arrangement is essentially 'Scruggs-style' rolls, mostly w/a low-profile bassline below, and occasionally more typical 'guitar strum' chords (kind of approximating banjo/bass/'chop' trio). EDIT (8/04/2011): updated w/better approximation of dobro slide @ end of intro.
Genre: Bluegrass Style: Bluegrass (Scruggs) Key: A Tuning: Standard Open G (gDGBD) Difficulty: Expert Posted by, updated: 9/4/2017 Download: Notes: I had not played or thought about Arab Bounce for decades until someone recently mentioned it on BHO, prompting me to dust off the memory circuits and revisit the tune. It was written by mandolinist and fiddler Vernon Derrick and recorded when he was with Jimmy Martin’s Sunny Mountain Boys, with Chris Warner contributing fine banjo work.
(If you listen to the original recording, pay attention to Jimmy Martin's superb rhythm guitar playing). In my tablature, the first half of the A Part is reminiscent of Warner’s breaks, whereas the rest is my take on the melody as defined by the mandolin. Incidentally, it is named after Derrick’s hometown of Arab, Alabama, and prompted Bill Keith to write Bay State Bounce. Genre: Bluegrass Style: Bluegrass (Scruggs) Key: G Tuning: Standard Open G (gDGBD) Difficulty: Expert Posted by, updated: 1/15/2015 Download: Notes: This is my banjo solo for the song 'Are You Missing Me.' It's fairly straight forward, but it does occasionally depart from the typical Scruggs style licks in favor of more melodic lines.
When I was making this solo, I tried to think about how I would play if I was playing it with Jim & Jesse. I have never done much with tablature, so I would love to hear what you all think. Genre: Bluegrass Style: Bluegrass (Scruggs) Key: G Tuning: Standard Open G (gDGBD) Difficulty: Intermediate Posted by, updated: 9/5/2016 - 1 Download: Notes: Are You Missing Me is a fine bluegrass standard, written by Ira Louvin and associated with Jim and Jesse. I have tabbed 3 breaks.
Note the long tag at the end of the first break; I think I first heard it (or something like it) played by Bobby Thompson. The final D measures at the end of the second break feature one of my original D runs, and you might find it useful. The third break includes some melodic sequences that you can plug into a variety of tunes.
Genre: Traditional Style: Clawhammer and Old-Time Key: G Tuning: Standard Open G (gDGBD) Difficulty: Intermediate Posted by, updated: 8/14/2014 - 2 Download: MP3: Notes: I do not guarantee this is musically correct and I do not guarantee it is just how I played it in the MP3 I posted. I kept finding myself making little changes as I wrote the tab. I did two versions, one 'easy', just to provide the melodies as I play them and one 'better' with the left and right hand flourishes and slurs.
I tend to really accentuate the down beat notes on this song just to keep the rhythm driving. After all, it's Gospel. Let it preach, I say.
Genre: Old Time Style: Bluegrass (Scruggs) Key: G Tuning: Standard Open G (gDGBD) Difficulty: Beginner Posted by, updated: 7/9/2014 Download: MIDI Notes: A great 'first tune' for the beginner, well-documented and easy to execute. Uses thumb-and-pinch, then alternating thumb (thumb in-and-out a.k.a. TITM), then mixes them up. One simple roll pattern gives three different endings!
This is pretty much how I learned it (without a tab) from Jeff Kimball in 1976. 7/9/14 corrected a few small errors in TEF and PDF. Genre: Fiddle/Celtic/Irish Style: Other Key: D Tuning: Standard Open G (gDGBD) Difficulty: Expert Posted by, updated: 9/7/2009 - 1 Download: Notes: Here's the fiddle/jam standard 'Arkansas Traveller', key of D, uncapoed.
There are two breaks, the first one going to the banjo and the second one a Reno-ish guitar break, part of which is taken from Jeremy Stephens guitar part on his CD, the 'Scarlet Banjo'. This could be either an Intermediate or an Expert tab.
Has a Rhythm Guitar & Bass rhythm track, as well as a backup banjo track over the Lead Guitar break. Genre: Fiddle/Celtic/Irish Style: Classical Key: D Tuning: Standard Open G (gDGBD) Difficulty: Intermediate Posted by, updated: 1/7/2012 - 2 Download: Notes: I arranged a version of this in Gmaj a few years ago, but decided to have a go at arranging it in the original key of Dmaj after our fiddler fell in love with the tune and wanted us to play it ensemble. It is quite difficult to fit as the tune covers two octaves.
I have tried to keep the simplicity and spirit of my original arrangement, which I feel was also in the spirit of Jay Ungar's original for fiddle.
Released on their 12th anniversary, Super Junior's eighth full-length album proves why the K-pop veterans still rule. We get more of their playful party anthems with 'Black Suit' and its bombastic, funky horn breakdown, while 'Scene Stealer' feels like a K-pop-inspired rework of Bruno Mars' '24K Magic.' But they spotlight their mature side on the tender pop-rock tune 'One More Chance,' while the closing ballad 'I Do' acts as a response to their 2007 hit 'Marry U,' making PLAY all the more of an important step in the band's evolution. Released on their 12th anniversary, Super Junior's eighth full-length album proves why the K-pop veterans still rule. We get more of their playful party anthems with 'Black Suit' and its bombastic, funky horn breakdown, while 'Scene Stealer' feels like a K-pop-inspired rework of Bruno Mars' '24K Magic.' But they spotlight their mature side on the tender pop-rock tune 'One More Chance,' while the closing ballad 'I Do' acts as a response to their 2007 hit 'Marry U,' making PLAY all the more of an important step in the band's evolution.
South Korean boy band Super Junior is best known for their breakthrough 2009 hit K-pop single, 'Sorry, Sorry.' Formed under the production and management group SM Entertainment, Super Junior (aka SJ or SuJu) made their debut in 2005 and were instantly popular in their home country and in a great deal of other Asian pop music markets. The original idea was that Super Junior would be a rotating cast of characters - the name changing to represent the yearly changes, i.e., Super Junior 05 would become Super Junior 06 - but once the first round of rotations were to be made, an addition rather than a switch was made and the group eventually expanded to a whopping 13 members. Super Junior's first 12 members included Leetuk, Heechul, Han Geng (the only Chinese member; he was chosen from a number of applicants to appeal to a broader Asian market), Yesung, Kang-In, Shindong, Sungmin, Eunhyuk, Donghae, Siwon, Ryeowook, and Kibum. They released a self-titled debut album in December of 2005. Their second single, 'Miracle' was a number one hit on a number of Asian charts, and shortly thereafter the decision was made to keep the group (plus one) and drop the year designator from the name.
In 2006, 13th member Kyuhyun was added to the line-up, and Super Junior released their next single, 'U.' Again, the band scored a number one hit and collected a number of awards for their work.
In 2007, the larger Super Junior broke into a number of sub-groups, including Super Junior-K.R.Y., Super Junior-T, and Super Junior-M, their most successful side project. The main Super Junior's next full-length, Don't Don, was delayed due to an auto accident, but upon its release in September of 2007, Super Junior finally had an album debuting at number one. In 2008, Super Junior furthered their regional popularity with a multi-city Asian tour before the 2009 release of their third effort, Sorry Sorry. The album spawned the international hit single of the same name and became a top seller in Korea, Taiwan, Thailand, China, and the Philippines.
Following the success of Sorry Sorry, Kibum, Han Geng, and Kang-In left the group for various reasons, reducing Super Junior to a ten-piece for the release of their fourth album, Bonamana. Simple (aka A-CHa) arrived the next year, topping the Korean charts and peaking at number three on the Billboard World Album chart. Sexy, Free & Single (aka Spy) was released in the summer of 2012 and marked the return of Kang-In. After the release of Hero, their first Japanese LP, Super Junior set aside their typical synth-heavy sound and incorporated R&B and funk tones for Mamacita, even recruiting American producer Teddy Riley for the title track. Ninth album Devil was released in 2015, followed soon after by reissue Magic, which added tracks like 'Magic' and 'You Got It.' Almost two years later in 2017, the group returned with PLAY, their fourth top three debut on the Billboard World chart. Yeung & Chris True.
ORIGIN South Korea. FORMED 2005.