A Collection of Traditional Folk Songs & Tunes Vol. 2

Blake Hornsby



Introduction

This album is a collection of traditional folk songs and tunes primarily of Appalachian origin, though some can be traced to Celtic and English origins. Most of these tracks are well known in old-time, folk, and/or bluegrass circles.

Throughout these liner notes, I use the words ‘song’ and ‘tune’, which are not interchangeable in traditional circles. The difference between a song and a tune is that a song has lyrics and a tune does not. Personally, I’m not much of a stickler for this, but this is a technicality that some folks take very seriously.

Most Appalachian (app-uh-latch-in) and Celtic fiddle tunes are structured in an AA-BB format. This means that there are two melodies: the ‘A’ melody and the ‘B’ melody (AA = A melody twice, BB= the B melody twice.) Other tunes may be structured in AA-BB-CC-DD, AA-B, or other formats. After a number of undetermined repetitions, one musician, namely the fiddler, raises their leg to signify to the rest of the musicians that it is the final round.

Many ballads are of the same formula, but it is not uncommon to have one melody for the entire ballad.

A Collection of Traditional Folk Songs & Tunes Volume 2 differs largely from Volume 1 in style. Volume 1 was recorded in three professional studios and contained a few adaptations of traditional music that were more esoteric. On Volume 2, all of the songs and tunes are performed in a traditional manner. This is the only completely traditional album that I have recorded to date.

I recorded most of Vol. 2 on my porch in Asheville, North Carolina with a Tascam field recorder. There are background noises (birds, wind, etc.) which are welcomed to create an atmosphere of an authentic field recorded experience.

DISCLAIMER: Despite both sides of my family ancestry being settled in southern Appalachia for centuries, I do not have much of an accent. I kind of wish I did, especially for singing.



Soldier’s Joy

This is a classic old time tune that you will likely hear at an old-time jam. I’ve always related it to Appalachia, but it actually has roots in Celtic music. This was one of the first I learned in this tuning.

I also play it in Double C tuning (gCGCD).

Blake Hornsby: Steel String Banjo




Shortenin’ Bread

This tune was taught to me by Alex Hooker at Appalachian State University. It is a classic old-time staple that pretty much any folk musician has heard. It’s a classic. It’s a standard.

It has been performed by numerous old-time folks, The Andrews Sisters, Dolly Parton, The Beach Boys, and even The Cramps. It is said to be written by James Whitcomb Riley, but I think he is the one who put it into text. It is actually an old African American slave song.

I play this in standard ‘G’ tuning (gDGBD).

Blake Hornsby: Fretless Banjo




John Brown’s March

This lesser known ‘John Brown’ tune was one of the first tunes taught to me by Matt Evans in Chattanooga, TN. It has a beautiful melody and I’ve always loved it. After reconnecting with Evans recently, I have come to fully realize that a lot of what was taught to me is Eastern Kentucky and West Virginia style clawhammer banjo. It is fascinating how not only different states, but different regions of states have very different styles of playing.

This one, like many others taught to me, Matt Evans learned from Dwight Diller. Diller is a huge influence on Evan’s playing, thus a huge influence on my performance as well.

The one quirk of this tune is that it ends after the repeat of one A part. This is very unusual.

I play this in standard tuning.


Blake Hornsby: Fretless Banjo




June Apple

I’m pretty sure the first time I ever heard this tune was on a CD that my first banjo teacher, Matt Evans, had burned for me. I have no idea who played anything on that CD, but I loved it. I finally learned the tune this year with the help of the internet and my Gaia. Lawing.

I play this in standard tuning.

Blake Hornsby: Fretless Banjo




Ole Molly Hare

Another one I learned from Matt Evans, who learned it in the style of Dwight Diller.

This is one of those old time songs where sometimes a few silly verses are sung, or it is entirely instrumental. I sing only two verses and there’s not really a story. I am sure folks would debate whether it is a song or a tune.

Classic Appalachian number.

I play this in Double C tuning (gCGCD).

Blake Hornsby: Steel String Banjo, Vocals




Hang me

The first time I heard this song was a version called ‘I’ve Been All Around This World’, by the Grateful Dead. I loved it and wanted to learn it on banjo. My former teacher, Matt Evans, is a Dave Van Ronk fan, so he introduced me to his version. He taught me this song in the key of A, but I play it a whole step below standard tuning (fCFAC).

This is another one that Matt Evans learned from Dwight Diller, though there is no official recording of Diller’s rendition.

Blake Hornsby: Fretless Banjo, Vocals




Shady Grove

This is a very well known song. Even folks not associated with the old time tradition are familiar with it. Similar to “Hang Me”, I first heard this song by Jerry Garcia and David Grisman. I was thrilled when Evans started teaching it to me. It was one of the only things he taught me that I had heard; everything else I heard later.

This is the only track I play guitar on. Gaia Lawing joins me on banjo. This song has similarities with the ballad “Matty Groves”.

Blake Hornsby: Guitar, Vocals
Gaia Lawing: Steel String Banjo




Darlin’ Cora

This is a murder ballad that I also learned from Matt Evans while I was in high school. Evans had learned it from John Haywood. Haywood cited Buell Kazee for the unusual tuning that this version is in (gCGCC), which influenced his variation, though I have heard a recording of BF Shelton playing it in a similar style.

I play it in the old-time two-finger style of fingerpicking, which is much different from the bluegrass three-finger style of playing.


Blake Hornsby: Steel String Banjo, Vocals






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Artwork in the Public Domain






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