Samsung has never prioritized tablets when it comes to updates, and considering that it will launch the Galaxy Note 5, Galaxy S6 Edge Plus, and possibly a Galaxy Tab Edge in the coming days means there are far larger tasks to tackle.
Curiously the Tab S2 already includes at least one of the changes implemented in TouchWiz for Android 5. It is indeed sharp and beautiful, and brings with it all the benefits of an OLED panel, namely the near-infinite contrast and deep, saturated colors.
Despite the high resolution and beautiful colors. The Galaxy Tab S2 lacks a notification lamp, a camera flash, an IR-blaster, and at least with the Wi-Fi model we tested, a vibration motor. For reference there is no NFC present either. I also found TouchWiz to be lacking as well. There is no ability to activate the parallax background effect for those who want it, yet Samsung did include the ability to choose up to 30 different lockscreen wallpapers.
There is no Theme Store, something that would be seemingly perfect for a large device like a tablet, and something Samsung has been pushing on even mid-range phones these days. Ironically if one were to suggest the Galaxy Tab S2 was not aimed at the media-consumption crowd due to the aspect ratio, the speakers would only work to serve as fodder for your cannon. Last year, Samsung did the seemingly unthinkable and put stereo speakers on the Tab S.
And it separated them: one on either side be it the Tab S 8. When I cupped my hands to the speakers things improved somewhat, but all-in-all even the single rear-firing speaker on the Galaxy A8 produced better, louder, crisper sounds than this tablet does. The main problem is, at least with the Tab S2 8.
This results in further muffled sound quality and you might not even be aware of the problem. Suffice to say this issue could have been largely avoided with speakers on opposing sides wherein you could hold the tablet in an orientation such that neither hand was blocking the sound.
Much like the Galaxy Alpha, it feels as if the entire heft of the product is generated by the lightweight metal. In the case of the Tab S2, the overall impression I had was quite nice. I liked the ergonomics of the device: despite the wider body size, it was still comfortable to hold in the hand and the contours along the underside of the frame are quite reminiscent of what Samsung has used for the Galaxy A8.
Even the docking pegs for the Book Cover are smaller and look much nicer than the bland discs from Specifically, the metal frame had scratches on several places along the perimeter. I will unfortunately be direct here and state that the painted frame is nothing short of hideous, though for those who loved the Note 4 or Note Edge it will probably come off as quaint. One other gripe I have about the build quality is the fact that the capacative buttons that flank the fingerprint-sensing home button are literally painted onto the screen.
Something about the metal frame however, coupled with the relatively compact size of the tablet just make the always-visible buttons less bearable. Is Samsung worried that users might forget where they are? Beyond this personal gripe, there is once again no default way to alter the backlight on-time of the capacitive keys. They remain lit for roughly 3 seconds, then disappear. This, coupled with the lack of haptic feedback when pressing them again at least on the Wi-Fi model really just irked me.
While using the Tab S2 in public, several of my friends or acquaintances asked if I had purchased an iPad. This, despite the prominent Samsung logo at the top. In truth some probably would have even were this the Tab S 8. At least the camera is a step-above the typical tablet fare. While these samples are not stunning, at least things have improved in the past few years.
More often than not however, the problems arose from random app crashes, usually games. Take a look at the various scores and comparisons that two tests on AnTuTu resulted in:. So yes, despite the fact that the Galaxy Tab S2 has the same SoC present in the Note 4, it actually performs worse in this benchmark test, as it does any number of devices from last year , including the One Plus One.
He doesn't do the up the neck break, but I thought it was fun so I threw it in there. Play all 3 parts, then repeat Part I. Capo at 2nd fret to play in D. Sometimes hard to hear notes in backup. This is close enough to get a beginner started.
Note: TablEdit's syncopation setting doesn't really capture the feel. Really nice use of sixths in the B part. Enter Keywords: banjo peter noorman. Or visit my website for tabs and instruction videos: www. It's played in the key of D on the album capo at 7th fret for a bright sound to compliment the penny whistle. This tab follows the vocals. The intro is slightly different, but I think you can figure out that part using this tab.
A fairly straight forward melodic style arrangement. It's a cool number with a not too complicated chord progression that moves right along. A good number to jam on. It demands to be played with attitude and bounce. It is both an easy tune with an easy melody, but also a difficult tune with an irregular meter with half-singing and half-talking. When I can't find a tab in a book or online, I have to work out my own three-finger arrangements.
I'm uploading the same tab in PDF in case your TablEdit display and print preferences don't like my tab. MIDI file still plays the old way with some slides that I no longer play. Mandolin tab included!
Notwithstanding its topic, Down in the Willow Garden is a very nice song, and it also serves as a fine instrumental. I first posted the tab on BHO in , and here is an updated version. I transcribed the intro and all six breaks plus the ending lick. Comparing the breaks with each other is interesting because of the many very small variations Earl adds each time he plays the theme.
Earl's opening break with Lester. I wrote the tab with three parts. The first part is a simple melody. The second part is the melody with pinches. And the third part is a Scruggs style version. Found this on an old backup drive I had. This version also has bass and backup rhythm guitar. One item of interest is that, several times in this tune, Earl employs a pretty wicked lick that covers 3 chord positions inversions of the same chord to go from a I7 chord to a IV chord, and from a V7 chord to a I chord.
You have to jump all over the neck to play it, and the distance your hand has to jump changes significantly, depending which transition you are playing, because the notes are much more closely spaced in the upper part of the neck, than in the lower part. It tends to foil muscle memory.
The blank 3 measures preceding each verse are skipped when the tab is played with the MIDI player, using the Reading List tool. They are only there to maintain the chord pattern such that each verse starts at the beginning of a line.
Recorded source: The Eagles self titled. I have been asked to tab this song in the past and only got around to doing it today. Part A is almost entirely melodic. For Part B, while not melodic, I give two variations to play around with. For this version you should be able to comfortably play the 2nd string with your middle finger inside strings which adds to its bouncy feel.
Anyway, I hope you enjoy. The B part is beautifully crooked. This is my version. Same key, so may give you an alternative break to Martin's arrangement. I learned it from Grampa Jones, but have also heard it done by Jim Kweskin. Google the words. Hee Haw rules!!! Please feel free to modify any of my tabs.
I will learn from your changes. Somehow, multiple versions of the same file loaded, here. Thanks, Ron. Butch Robins's version is from a youtube video and is similar to Weissberg's but differs in subtle and interesting ways. In my view, Robins's arrangements are typically interesting and subtle.
For fun I included a banjo duet at the end of the tab. You can also mix and match parts from each ending for other variations. Every picker needs to know and play these well. Thanks to Rich Stillman waystation for his feedback! An old German childrens song which happens to be the song we use to sing my daughter to sleep each night.
You get the idea The key should not be as much a subject of worry as is the intense hand contortions needed to get the drop-C chord e. It took me a looottt of practising to be able to make the chords up to speed, but it is worth it; it's a real neat sound. This one takes a little practice. The single string licks are mostly standard Reno single string licks, although there's one of my own at the beginning of the 5th break. This tune will definitely take some practice, but it's a real firecracker once you get it right.
I shamelessly like this tune in Eb much better than drop-C tuning, key of C. The TablEdit file contains both banjo and guitar, while the pdf version only shows the banjo and the guitar chords.
The first part is rather banjo friendly, but the second part contains some "shuffling" which can be played in several other ways on the banjo. Just use your own imagination and work out something own if you feel for it. The tune is basically in Mixolydian mode, and is crooked; the A part has an extra beat. I have a video posted of this tune on my homepage. His version was in B flat, incidentally, capoed up three. It should be played fast; so burn it up!
It is completely unrelated to the tune most commonly associated with the title, a bluegrass fiddle standard. I took the variation on the A part, starting in measure 9, from Byron Berline's version in his fiddle album with the Dillards.
You will note that it anticipates the B part and that its chord structure is slightly different from the standard A part, in measures 1 to 9. Berline and the Dillards played it in D, and I transposed it to G. I hope I captured the feel of his version.
For simplicity I will refer just to Keith tuners. It is problematic to tab the Keith tuner changes in TablEdit, and so I have followed my usual practice: I have tabbed the tune to show the melody notes without tuners i.
So you can still play it if you do not have Keith tuners, although it sounds much better with the tuners. The structure of the tune is AAB, and I have included a second version of the B part, this one up the neck. Although similar to Huber's version, this is my own arrangement of Five in the Morning and not a note-for-note transcription of his. It reminds me of a ball bouncing down a staircase "descending Victorian stairs," a line from Jesse Winchester , and I refer to it as Stover's Staircase break.
The repetitive right-hand pattern is The A part is a down the neck, fairly scruggsy solo version of the melody. The B part goes up the neck, and is rather more like how Punch Brothers do it, albeit massively simplified from Noam P's part! Capoed up 2 for A. I was asked to perform this in church, so I had to figure out a tablature arrangement. Some is based on tabs from others, but most, I wrote myself.
This is the first time I have done this, and the first time I performed in public possibly my last! This file was corrected and improved Compare to "FMB slow and swinging" tab. I hope this is OK with Mr Bourassa. There may be a mistake around the 13th measure. I also use measure 13 as a kickoff for melodic tunes such as Sailor's Hornpipe.
The first measure or two of each break are also very useful and can be used for a lot of things. Measures 9 and 15 are a couple of melodic fills that I use very frequently. As you can see, there are a number of things that can be useful in your playing beyond just using them for Foggy Mountain Breakdown.
First attempt at this, so it may be way off. Rob has confirmed that the fingering is correct anyway, so it should be helpful. This version doesn't have that "bouncy" feel that Scruggs used, but it allows for playing the song more accurately when speeded up, and I think it sounds slicker anyway. It's heavily syncopated and very striking: Reno accented a lot of melody notes on the offbeats, also brushing with his thumb, letting the banjo ring into the downbeat, and his staccato single-string work is legendary stuff, a bold stylistic departure from Earl's approach.
See page 1 and 2. The first E minor chord is only for the banjo break; during the vocals they play a B minor. This my version of this song, hope you all like and comment on it.
Notice the cool bluesy lick at the end. I heard a classical guitarist talking about tremolo speed. Tremolo on a classical guitar involves playing a rapid succession of index i - middle m - ring a. He pointed out that even though the combination of the notes is rapid each finger digit is only striking the string say twice a measure, or once a measure. I heard it differenly so here's my version. The last couple bars are pretty uninspired. Please feel free to hijack, improve and expand.
See notes for additional comments. It is a huge part of the Scruggs style. The first two versions are what I hear Sonny and Kristin playing, respectively with thanks to Kristin for helping on her version. The third version varies by one crucial note. You decide which one you prefer. This is the A part of the tune, which is played twice before the B part.
The song actually begins at measure 5, and that's where the backup starts. Measures are an intro, so when repeating the A part, start the second time at measure 5. It is only played once, whereas the A part is played twice. No tab was available, so I worked out my own version. I couldn't tab it out to play the slide at measure 3 exactly as I play it.
What happens is you give the last note of measure 2 3rd string, 2nd fret its full eighth note count. Then, without picking again, you slide up to 4th fret on the 1 count of measure 3.
The slide all happens on the 1 count and is done by the time you play the 2nd string open. So it's different from a bluegrass slide in that respect. The verse and chorus are set up as Scruggs-style backup. The instrumental break incorporates melodics. Interesting arrangment by Nashville Bluegrass Band. Great tune!
It's in C out of open G tuning. Alan Munde on five string, serving up his typical tasty licks. Check out these tabs and find out for yourself! Perfect for any jam session at your local Church! Lots of synchopation. Doesn't need to be too fast. Includes a mandolin break.
I'm obviously not a mandolin player. All fingerings provided. Challenge: Find a way to play it without the triplets, with as little changes as possible. I first saw her in the s when she was accompanist for Michele Shocked, and her reputation led me to a Michele Shocked concert in Victoria, B. Brown lived up to expectations, and in the process I discovered the delightful Michele Shocked. In addition to her progressive and jazz playing, Brown can rip off a straight-ahead bluegrass tune.
This is because I employed the pitch change function to achieve that sound also, how would TablEdit depict detuning the second string from B to A e. The actual notes played are shown in text above the appropriate section of tab. And I want to thank Jack Baker for alerting me to the pitch change function. Through the years Jack has been generous and accommodating in helping me to understand the subtleties of TablEdit and of musical notation in general, and I gratefully acknowledge his guidance here.
His contributions to BHO have been very significant. But you can slow the MIDI down, to hear it better. A lot of twisting and turning. The difficult parts are where you have to turn the tuner in advance to be prepared. This and then in the B-part where the banjo is tuned to D for some measures. I have it arranged here in the key I found in a book of piano tunes, and it is a good key for the tune.
Has a whole lot of inside, square un-syncopated rolls. Has a single string lick, and the ending is a great Don Reno "rake" ending, used on such tunes as his Rural Rhythm recording of "Limehouse Blues". It is pretty easy and the second part closely resembles Sailor's Hornpipe.
It is pretty easy and this is a more or less basic version. Lots of variations are possible. I'm adding a minor chord in Part B which isn't in Monroe's original version. This is something that I noticed over the years lots of musicians throw in when they jam to this tune, and I've come to adopt it too, it seems to belong and gives some subtle added flavor Berline also wrote a third part that you can hear at the tail end of Monroe's recording, and I have included all 3 in my arrangement for banjo.
This is from when Bela played with the band Spectrum, and is from Spectrum's debut album, "Opening Roll". Not too tricky to play, in Scruggs style with a modicum of melodic style in the B part.
Here are two breaks, a low and a high one, that are pretty straightforward. The only tricky bits might the melodic sequence in measures 47 and 48, as well as the ending.
The latter arose as an attempt to create an ending based in triplets. Did it work? You be the judge. I missed the C measure before the A measure and added it after.
Sorry about the inconvenience. Presumably it was written in the s. In bluegrass style, it has been recorded by Bill Monroe, among others. The song regularly comes up in jams. Forgot Password. Luthier Search Hangout Merchandise. Find a Teacher Take your playing to the next level with the help of a local or online banjo teacher. Email Newsletter Weekly newsletter includes free lessons, favorite member content, banjo news and more.
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