Click Here To Get The Tab

Research into this week’s tune, “Seneca Square Dance,” (a.k.a “Waiting for the Federals,” along with several other alternate titles) indicates that, though its origin remains unclear, it’s been around quite some time. It is speculated that the reference is to the Seneca indians.

Recordings of it first surface in the early 20th century. Notable amongst these is one by “Fiddlin’ Bob Larkan and his Music Makers,” where it goes by the title “The Higher Up the Monkey Climbs.”

More accurately, this tune sounds like an amalgamation of Seneca Square Dance (the A part) and Sally Ann/Sail Away Ladies (the B part). Mixing and matching of melodies, lyrics, and titles seems to have been a commonly employed method for bands of this day to expand their recording offerings.

As shown in their rendition, there’s a delightful absurdity that runs through the string band recordings of this era, from the non-sensical lyrics and neologisms to the witty banter to the spontaneous bursts of impossibly high falsetto voices. Though these were some of the most accomplished musicians of their day, they didn’t take themselves too seriously.

I wish there were more of this. Because, for me, more than anything, this music is about celebrating being alive, at this very moment. And that comes through clearly in much of the music of this age.

Speaking of delightful absurdity, here’s that version of “The Higher Up the Monkey Climbs,” fittingly coupled with an equally ridiculous Betty Boop cartoon of the same time.

Seneca Square Dance

gDGBD tuning, Brainjo level 3

Notes on the Tab

Notes in parentheses are “skip” notes. To learn more about these, check out my video lesson on the subject.

For more on reading tabs in general, check out this complete guide to reading banjo tabs.

Level 2 arrangements and video demos for the Tune (and Song!) of the Week tunes are now available as part of the Breakthrough Banjo course. Learn more about it here.

Click Here To Get The Tab

Up this week is another tune that only recently appeared on my musical radar.

It comes originally from fiddler Jim Bowles of Kentucky, and has enjoyed a bit of a resurgence of late thanks to a version recently released by the great Dan Gellert. Dan is known for adding a healthy dose of grit and swing, which comes through clearly in this rendition. That includes several flatted 3rds and 7ths, which don’t tend to crop up much in the double C/D tuning, and make for a nice change of pace.

“Nancy Dalton” was introduced to me by way of my Georgia Jay-mate Justin Manglitz, who fiddles it about is well as a thing can be fiddled, and it has now taken up solid residence in our dance set list. And it’s Justin’s version upon which mine is based.

So consider my rendition to be three degrees of separation from the original.

(RELATED: If you’d like to jam with Justin, click here to check out the Banjo Players Edition of our recent Round Peak, Georgia album. It’s a fantastic way to build your jamming chops!)

It’s a raucous, fun tune, great for jamming (and dancing), and I imagine its propagation will continue!

Nancy Dalton

aDADE tuning, Brainjo level 3-4

Notes on the Tab

Notes in parentheses are “skip” notes. To learn more about these, check out my video lesson on the subject.

For more on reading tabs in general, check out this complete guide to reading banjo tabs.

Level 2 arrangements and video demos for the Tune (and Song!) of the Week tunes are now available as part of the Breakthrough Banjo course. Learn more about it here.

Click Here To Get The Tab

Last month, preparations for an upcoming contradance required I add a few new tunes to my repertoire. One of them was this month’s selection: “Boatin’ Up Sandy.”

There are at least a couple of tunes by this name. The version presented here is often attributed to fiddler Owen “Snake” Chapman.

Yet, despite its origins as a fiddle tune, it makes for a great solo banjo piece, especially when presented at moderate tempo.

Played out of modal tuning, with its haunting tones and hypnotic rhythms it could easily double as a meditative mantra.

You may notice in the arrangement some fingerings you don’t encounter too often (the hammer on from the 3rd to 7th fret on the 1st string being one example). Not surprisingly, this original sounding tune calls for some original bits of technique.

I like finding tunes like this, where you can’t rely on well worn patterns to play them, but by necessity must find something original.

Boatin’ Up Sandy

aEADE (A modal) tuning, Brainjo level 3-4

Notes on the tab: 

Notes in parentheses are “skip” notes. To learn more about these, check out my video lesson on the subject.

For more on reading tabs in general, check out this complete guide to reading banjo tabs.

Level 2 arrangements and video demos for the Tune (and Song!) of the Week tunes are now available as part of the Breakthrough Banjo course. Learn more about it here.