# Song and Tune Projects > Song and Tune Projects >  Midnight Moonlight

## Barb Friedland

The usual approach to this tune involves a key change in the mid section where the breaks happen. My band does a different version without the key change. Anyone have a not too difficult break I might throw in there? I am stuck...  If it helps any, we're doing the tune in C.

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## AlanN

The well-known recording of this Pete Rowan tune of course comes from OAITW, released in 1973, after the band had disbanded.

This version was in A major. The middle section doesn't really have a 'key change'. The rhythm section plays a C chord for 4 bars, then back to A major for 4 bars. This repeats as necessary. As I recall (long time since I have listened to it), the great Vassar took a solo on the A part of the tune, and they all took turns on the C chord part. Grisman plays his characteristic patterns during his break.

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## Perry

The middle section C to A is kind of central to the tune at least in a bluegrass/stringband  setting?

It's really not too hard to solo over thr C to A vamp in the middle. In fact it is probably easier to solo over then a verse.

Sorry don't have a verse solo to share but here's an idea.....you might want to listen to some Jerry Garcia Band for ideas as 'Jer' always soloed over the verse...true he played guitar but he had a way with developing melody
and there may be some cool stuff to steal.....

To solo over the verse I'd be thinking melody with some double stops a few variations; a blues note or two; some chromatics....

I htink Bert Casey's fakebook might have the melody notated?

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## Barb Friedland

Thanks for the pointers. I have the OAITW recording and it is in Bert Casey's fakebook.  The band I play with seems hesitant to work with the usual vamp in the middle section and seems intent on working with the melody line so I may be stuck with that.  :Mandosmiley:

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## swampstomper

I just heard Peter Rowan two nights ago sing this solo as the final number of a concert (of course encores followed) with just his beautiful little 00-45 or whatever it is -- it's his signature song -- and that vamp is absolutely central to the whole feel of the piece. I'd just as soon leave out the bridge in Rawhide because some band members don't like the changes and call that "Rawhide".

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## journeybear

> ... My band does a different version without the key change. Anyone have a not too difficult break I might throw in there? ...


So then, your band is just staying on C?  :Confused:  Not very dynamic. Also, people who know the song will be expecting the chord change. It's a pretty well known feature.

As written, it's a classic instance of tension and release. Playing the Eb bars just sounds odd when the basic key is C - it's an unusual chord change - and all you really have to do is play a melody in that scale, leading up to the point where it goes back to C, releasing the tension. The G C and D notes are in both scales, and in fact G is in both _chords_, so your melody line could end with that note in a tremolo while the rest of the band changes chords. Or you could end that passage on a note that naturally leads to a note in the C scale.

There are more ways than one to skin a cat, or scale a fish, or play a scale ...  :Mandosmiley:

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## Barb Friedland

Seriously folks- the three other people in the band don't want to do the vamp so I'd be out voted in any case. We're working the melody line on a break or two. Our version plays up the fantastic 3 part vocal harmony possibilities on the chorus. Doing the unexpected can be a good thing. Anyway, if there are no more thoughts about a melody line break that's cool.

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## mandolooter

I have the melody and I'll look to see if I can find it and pm it to you...its a very basic version and easy enough to do. If ya don't see it in a hour or so I can't locate it here which means its in my other book at a friends house.

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## MikeEdgerton

Wow, like a hot fudge sundae without the fudge.

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## journeybear

> Seriously folks- the three other people in the band don't want to do the vamp so I'd be out voted in any case. We're working the melody line on a break or two. Our version plays up the fantastic 3 part vocal harmony possibilities on the chorus. Doing the unexpected can be a good thing. Anyway, if there are no more thoughts about a melody line break that's cool.


It would help to know what kind of a band this is - genre, instrumentation, just general description. I mean _style_ - it's pretty clear what _kind_ of band it is, that would scoff at doing a song "right" and limit the mandolin player (who typically shows the best judgment and sophistication, as instrument choice has already proven) to just one vote!  :Grin: 

All right, moving right along ...  :Whistling:  ... You mention the "melody line." By that do you mean the vocal melody as sung in the verse? Because that _could_ make for a nice instrumental arrangment. Off the top of my head I'd suggest this: first half of V: one instrument playing melody; second half of V: same, with second instrument playing harmony; chorus: three instruments, one melody, two harmony. Perhaps you could even do that for just the first half of the chorus, then sing the second half.

OK, maybe I _don't_ need to know more about the band's makeup!  :Laughing:  Unless, of course, you have a banjo and not a fiddle, in which case you are a goner and there's nothing you can do!  :Crying:

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## 250sc

lol. I'm not going to do it. I refuse to play those chords.

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## Caleb

In case anyone missed it and is interested there is a wonderful version of this song on the Be Good Tanya's album _Chinatown_. Sometimes hearing a different version helps with the creative process.

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## Barb Friedland

> It would help to know what kind of a band this is - genre, instrumentation, just general description.


We play a lot of bluegrass but also tunes from outside the typical songlist in a BG style. The band consists of a bass player, rhythm guitar (very few lead lines there), me on mando and, (make sure you're sitting) a banjo player- he actually really good. It's pretty much up to the banjo player and me to do any breaks.




> You mention the "melody line." By that do you mean the vocal melody as sung in the verse? Because that _could_ make for a nice instrumental arrangment.


Yes that's the plan- breaks on the verse. You've given me an idea, journeybear- thanks!

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## Barb Friedland

> I have the melody and I'll look to see if I can find it and pm it to you...its a very basic version and easy enough to do. If ya don't see it in a hour or so I can't locate it here which means its in my other book at a friends house.


Cool, mandolooter. I'll be on the lookout for it. Thanks tons.

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## chip

> In case anyone missed it and is interested there is a wonderful version of this song on the Be Good Tanya's album _Chinatown_. Sometimes hearing a different version helps with the creative process.


Did you like that version, really? I'm not so sure on that one.... :Whistling:

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## Caleb

> Did you like that version, really? I'm not so sure on that one....


It grew on me.  :Coffee:

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## mandolooter

Barb...no luck but I'll see him on Monday at work...Im headed outta town on a river trip.

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