As track 4 rolled around, somewhere in recesses of my subconscious, while I was busily attending to some other business on the computer, I recognized that Bonaparte’s Retreat was now being played. It began with a stirring rendering on the dulcimer. My defenseless foot began dutifully tapping along.

But then, something unexpected. Something that broke my focus from the task at hand and redirected all of it to Ola Belle.

Ola Belle was singing.

Now, I’d heard Bonaparte’s Retreat a great many times from a great many folks up to this point. It’s one of the most classic pieces in the old-time music pantheon, and one of those tunes that virtually every musician puts their own personal stamp on. I imagine you could identify most any fiddler by the version of Bonaparte’s Retreat they play, in fact. And a risky tune to bring up in a jam for this reason, as odds are slim that my preferred Bonaparte is the same as your preferred Bonaparte.

But none of those versions had ever included any singing.

Personally, I’m always looking for an opportunity to add my voice to a tune. When I hear a great melody, I’m moved to sing along. So it’s always a joyous discovery when I find that somebody has already penned lyrics to a tune I’ve long enjoyed.

The lyrics she sings here are also delightfully self referential, as in it speaks of a fiddler playing the “Bonaparte’s Retreat.” I’m a sucker for self reference.

The next opportunity I had, I took out the gourd banjo and worked up yet another version of Bonaparte’s (this probably makes number 6), this one inspired by Ola Belle. For the moment, it’s become my favorite way to play it.

Bonaparte’s Retreat

aDADE tuning, Brainjo level 3

Bacon and eggs.

Abbott and Costello.

Modal tunes and banjos.

There’s just something special about modal tunes played on the banjo. It’s one of those pairings where each party is elevated by the presence of the other. Modal tunes just make the banjo sound extra good, and vice versa.

So, as you may have guessed, this must mean that there’s a modal tune up for today’s tune of the week. Not just any modal tune, but arguably the most popular modal tune of all, one that’s spread itself well beyond the confines of the Appalachian old-time tradition. That tune….is Shady Grove.

And while it’s been rendered in a multitude of instrumentations over the years, I’m personally still partial to the way it sounds all by its lonesome on the banjo. Vocal accompaniment is optional.

Like I said, there’s just something special about the banjo and modal tunes.

Shady Grove

gDGCD tuning, Brainjo level 2-3

Notes on the tab

As you can see, I’m playing this one on the gourd banjo, which is tuned down to dADGA. However, this is the same relative tuning as G modal, or gDGCD, which is where I’d usually play this tune on a modern, steel string strung banjo.

Skip Notes: The notes in the shaded box are “skip” notes, meaning they’re not actually sounded by the picking finger. Instead, you continue the clawhammer motion with your picking hand, but “skip” playing the note by not striking it (this is a technique used to add space and syncopation). The fret number you see in the shaded box is the suggested note to play should you elect to strike the string.