From JARRELLJ@N4.OPNAV.NAVY.MIL Fri Oct 27 15:11:25 1995
Received: from opnav-emh.navy.mil (radius-server.opnav.navy.mil [138.182.254.2]) by get.wired.com (8.7.1/8.7.1) with ESMTP id MAA18548 for <dgaudet@hotwired.com> Fri, 27 Oct 1995 12:19:28 -0700 (PDT)
Received: from N4.OPNAV.NAVY.MIL by opnav-emh.navy.mil with SMTP
(1.37.109.11/16.2) id AA027421400; Fri, 27 Oct 1995 15:16:40 -0400
Received: from cc:Mail by N4.OPNAV.NAVY.MIL
id AA814832265; Fri, 27 Oct 95 15:11:25 EST
Date: Fri, 27 Oct 95 15:11:25 EST
From: "JARRELL_JIM" <JARRELLJ@N4.OPNAV.NAVY.MIL>
Encoding: 3 Text, 350 Text
Message-Id: <9509278148.AA814832265@N4.OPNAV.NAVY.MIL>
To: dgaudet@hotwired.com
Return-Receipt-To: JARRELLJ@N4.OPNAV.NAVY.MIL
Subject: TAB:LeoKottle"Cripple_Creek"
Dean... Here's Kottke's "Cripple Creek"..at least my take on it.
Regards...Jim
“Most of the technical inroads that I made came from trying
to learn how to play the banjo. I couldn’t play it, but
in trying I realized that there were some things that I
overlooked in the guitar”...Leo Kottke(Aug 77 Guitar Player
magazine).
“By trying to learn the Earl Scruggs technique, it got me
out of a rut that I had dug for myself with the (right hand
picking) pattern I had learned.....” “At one time I was
playing a tune I called “The Turtle Hills” and it dawned on
me one day that it was “Cripple Creek”... Leo Kottke(Apr 82
Guitar Player).
I went bonkers for the banjo in the 80’s. Went almost three
years, rarely playing guitar, until to my dismay I realized
that solo bedroom banjo can get real monotonous. However,
when I finally came to my senses and returned to guitar I
realized that my right hand capability had taken on a new
dimension. Not professional level mind you, but to this
day my right hand (independent thumb and fingers) far exceeds
my left hand ability. All of a sudden I was able to “break
the code” on the tunes in Stropes’ “Leo Kottke: Eight Songs”
book. It was the banjo....especially the use of the thumb
as a direct contribution to the melody vice that of an
alternating bass backup. So, want to improve your fingerpick
ing?...play more like Leo? Try the banjo, but beware....
it’ll drive you bonkers! (Anybody wanta buy a mint Stelling
Sunflower?....I’m in desperate need of a
Taylor 12!)
If you do take up the banjo, or if you play it already, an
even bet is that one of the first, if not the first, tune
you’ll learn will be “Cripple Creek”. Guaranteed...its in
the rules! However, Leo’s “Cripple Creek” bares only a
passing resemblance to the banjo standard. As quoted above,
my guess is that Leo’s is a hybrid between The Turtle Hills
and Cripple Creek. To my knowledge, Leo has recorded it
three times...”Mudlark”, in the closing credits to the “Home
and Away” video and this one from “Fahey, Kottke and Lang”.
This one’s the pick of the litter....a tour de force. The
Mudlark version is overproduced (drums, bass, overdubs ad
nauseam..). The video version is really what you should
strive for because the Takoma recording is out of reach.
Sounds like its coming from the bottom of a well. Leo was
really “on” the day he put it to tape. If you’ve never
heard this version you’re really missing a major
accomplishment....one I list in my top 5 of all Kottke
recordings.
Again, credit where credit due. Thanks to fellow naval
aviator and Kottke nut Hank Stanley for revealing the
fact that its in Open D (“Cripple Creek” is always...I
mean “always” played in Open G on the banjo) and giving
me a “rough” (very rough) outline of the tab..
“Cripple Creek”
Arr: Leo Kottke
From: “Fahey,Kottke &
Lang” Takoma Records
Tab: Jim Jarrell
and Hank (kinda!)
Open D Tuning (lowered 1/2 step or so)
12 String (no slide)
a arpeggio
b bend
h hammer-on
p pull-off
T^ Brush down with thumb or note played with thumb
I Index finger
M Middle finger
/ slide down neck(toward saddle)
slide up neck(toward nut)
x mute or slide to an indefinite point
W Whole note(s)ie. hesitate/hold notes
|_|_| Triplet (or at least very fast)
Playing notes:
Section I:
Hold “2/4” slide in “4” position and try to
sustain the “4” note, almost vibrato like (“dig in” on
the “4” position!). Then emphasize the “4” note on the
slide up to the “2”. Avoid tendency to play the open 2nd
string vice the open 3rd “g” string in the measure. The
open 3rd gives the tune a special texture.
Section IV:
Think intro to Busted Bicycle is tough? Standby!! This is
really hard with fingerpicks on! You gotta make it growl.
Release pressure off hammered-on notes immediately after
hammer-on..ie. don’t let “2” sustain.
Note that the 6th string notes come either on the beat
(hammer-on) or slightly behind...ie. “0h2” or “0h2”
0 0
Section V:
Essentially the same idea as section IV but in the higher
register. You might want to try V before IV.
Section VI:
The weakest part of my tab. This section befuddles me.
The end part at the 5th fret can also be played out of 1st
position (simple standard tuning E7 chord)...in fact, it
probably should!
Intro: All notes with thumb. Doesn’t get any easier
than this!!
d|--------------------------------------------------|
a|--------------------------------------------------|
f#--------------------------------------------------|
D|-----0-----0-----0-----0-----0-----0-----0-----0--|
A|--------------------------------------------------|
D|--0-----0-----0-----0-----0-----0-----0------0----|
T T T T etc...
Section I
|---2-/4----4-2---0----------4-----7------|
|------------------------------------------|
|-----------------------0------------------|
|--------0------------0----------0-----0---|
|------------------------------------------|
|---0----------0-----------0--------0------|
|---2-/4----4-2---0---------------0-------|
|------------------------------------------|
|-----------------------0----5-------------| Repeat
|--------0------------0---------0-----0----| Section
|------------------------------------------|
|---0----------0-----------5-------0-------|
I I
Section II
|---X-/12----0---------------------------------|
|------------------0-----------------0---------|
|-----------------------0------1----------0----|
|---------0-----------0-----------0----------0-|
|---------------------------2------------------|
|---0-----------0-----------------------4------|
|---X-/12----0-----------------------0------|
|------------------0------------------------|
|-----------------------0------7------------| Repeat
|---------0-----------0-----------7-----0---| Section
|-------------------------------------------|
|---0-----------0-----------7--------0------|
Section III
|----------0------------------------------0-----------|
|---0h2----------0-----------------0h2----------0-----|
|----------------------3-----1------------------------|
|-------0-----------0-----0-----0------0------------0-|
|----------------------3-----2------------------------|
|---0---------0--------------------0---------0--------|
T I T I T
T T
|----------------------|
|----------------------| Repeat section
|----------------------|
|---5*----7*------0----| You gotta really bang out
|---5*----7*-----------| those harmonics with the
|---5*----7*---0-------| thumb!!
T^ T^ T T
Section IV
|------------------------------------------|
|------------------------------------------|
|------------------------------------------|
|--------0-------0-------0------0-------0--|
|---0h2-----0h2-----0h2----0h2-----0h2-----|
|---0----0----0-----0--------0-----0----0--|
W
|------------------------------------------|
|------------------------------------------|
|------------------------------------------| Repeat
|--------0-------0-------0-------0----0----| Section
|---0h2-----0h2-----0h2-----0--------------|
|---0----0----0-----0----------0----4----0-|
b T
Section V This is “in the ballpark” only...
|--------0-------0-------0------0------0-------0--------|
|---0h2-----0h2-----0h2-----0h2---0h2-----0h2--------0--|
|-------------------------------------------------------|
|--------0----------0---------0--------0----------0-----|
|-------------------------------------------------------|
|---0---------0----------0--------0---------0-----------|
1st ending 2nd ending
|---------4---0-------|-----------------|
|------0--------------|------0----------| Repeat section
|---------------------|-----------------| note: two endings
|---------0-------0---|-----------------|
|---------------------|-----------------|
|---0---------0-------|---0------4---0--|
Section VI
|-----------------------------------------------------|
|-----------------------------------------------------|
|------------0----------------------------------------|
|------0-----------0-----0----------0--------0--------|
|------------------------------0h2--------0--------0--|
|---0-----4-----2-----0-----0----0-----0-----0---0----|
I M I I I I I I
|------------------------------------|
|------------------------------------|
|------------0---------------5---0---| Repeat section
|------0-----------0-----0---5---0---|
|------------------------------------|
|---0-----4-----2-----0------5---0---|
I I I
Section VII
|---------------------|-----------------------------|
|---------------------|-----------------------------|
|---------1-----0-----|-----1-----------------------|
|------0-----0-----0--|--0-----0-----------0--------|
|---------2-----0-----|-----2-------0h2----------0--|
|---0-----------------|-----------0-----0-----0-----|
I I I I I I M I
|__|__| W
|---------------------------------------|
|---------------------------------------|
|---1-----0-----------------------------| repeat sections
|------0-----0-------------0--------0---| I-V then go to
|---2-----0--------0h2-----------0------| ending
|---------------0-------0-----0-----0---|
I I I M I
Ending Okay, Hank did show me this but betcha I could
have figured it out anyway!! (I think) :-)
|----------------------------------------------------|
|-------------------------11h12------11h12--11h12----|
|--11h12----11h12--11h12-----------------------------|
|--------0------------0----------0-------------0-----|
|----------------------------------------------------|
|--0-----------0----------0-------------0------------|
|--11h12----11h12--11h12----12--0---0----------------|
|----------------------------0------0----------------|
|----------------------------0------0----------------|
|--------0------------0------0------0----------------|
|----------------------------0-----------------------|
|--0-----------0-------------0-----------------------|
T^
Section I Variations
|----------------------------------7-----------------|
|--7-/9-----9-----7----------9------------7-/9-------|
|----------------------0-----------------------------|
|--------0-----------0----------0------0---------0---|
|----------------------------------------------------|
|--0-----------0----------0--------0------0----------|
|---------------------------0------|
|--9------7-----------0------------|
|--------------0-------------------| Or maybe as
|------------0-----------0-----0---| follows.....
|------------------2---------------|
|-----0---------------------0------|
|--2-/4-----4-2p0-----------------7------|
|----------------------------9------------|
|---------------------0-------------------|
|--------0----------0-----------0------0--|
|-----------------------------------------|
|--0------------0---------0--------0------|
Section II Variations
|-----------0--------------------------------------|
|--3-/5------------0-----------0-------------------|
|-----------------------0------------0------0------|
|--------0------------0-----------0------------0---|
|---------------------------2----------------------|
|--0-----------0-------------------------4---------|
|-----------0------------------------0-------------|
|--3-/5------------0-------------------------------|
|-----------------------0------7-------------------|
|--------0------------0-----------7------0---------|
|--------------------------------------------------|
|--0-----------0------------7--------0-------------|
Section VI Variation
|-----------------------------------------|
|-----------------------------------------|
|--------0--------------------------------|
|-----0-----0----0-------0------0---------|
|-------------------0h2-------0-------0---|
|--0-----------2------0-----0---0---0-----|
W
|---------------------------------|
|---------------------------------|
|--------0----------------1---0---|
|-----0-----0----0-----0----------|
|-------------------------2---0---|
|--0-----------2----0-------------|
W W
Ending variation (a strong case can be made that this
is not a variation but the “real” ending)
|--3h4-----3------4--------6h7-----6------7--------|
|--------------------------------------------------|
|----------------------0-----------------------0---|
|-------0------------0----------0------------0-----|
|--------------------------------------------------|
|--0----------0------------0-----------0-----------|
|--11h12-----11------11-------12--0--0----|
|------------------------------0-----0----|
|------------------------------0-----0----|
|---------0---------------0----0-----0----|
|------------------------------0----------|
|--0-------------0-------------0----------|
For grins, try playing it with a slide! Leo may have
initially conceived this as a slide tune. The positions
and finger slides are very typical of Open D slide.
Comments, questions, corrections most welcome
Jim Jarrell JarrellJ@N4.OPNAV.NAVY.MIL
========================================================
Cripple creek, de Leo kottke
========================================================
L'impression est réservée aux membres Premium
Clique ici pour devenir premium
Clique ici pour devenir premium
