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Alan Munde - Festival Favorites Revisited
by; Alan Munde

Morocco Moonshine

by Bob Altschuler

"Morocco Moonshine" is a song I wrote in early 2005 to play at the Banjo Camp North concert in Lexington, Massachusetts, at the National Heritage Museum.

People have asked me how I came up with the song, so I thought it would be interesting to show the tab and describe how the song evolved from an idea to its final form.

Musicians take different approaches to writing a song, and there is no right or wrong way. If you come up with an original song, it's a good thing, no matter how you got there.

I didn't start to compose the song with a melody in mind. I started with a lick, tried different chords, expanded them for part 2, and developed the melody as the song took shape over a period of weeks. This involved experimenting to find a chord structure, using a lick as a repeating "hook," and repeating chords in the first and second parts of the song to tie it together.

The name came about after JoAnn Sifo, from our band Dyer Switch, said the song reminded her of people walking through the desert in the moonlight. When I named the song, I realized that "moonshine" had two meanings (I don't know if they make moonshine in Morocco).

• I started with a single lick I liked which I found in a banjo instruction book. This "starter" lick is in the first measure of part 1. I added a fill-in lick (measure 2) to complete the lick.
• I tried different chords to follow, starting with the IV chord (C). I kept the starter lick throughout the song as a repeating focal point, and it went into measures 5 and 6.
• I always liked the G-F-D-G chord progression in "Theme Time" and "Pike County Breakdown," so I tried that next. I now had the chord structure (and the repeating "starter" lick) for half of the first part of the song (8 measures).
• For the second half of part 1, I went back to the I chord (G) and repeated measures 1-5 in measures 9-13. To resolve and end part 1, I repeated the F to D chords but shortened them to a half measure each, followed by G.
• Now I had the first draft of chords for part 1. To see if other chords might fit, I tried variations for the C (C7, C minor, others). The C to Cm sounded good after the bluesy starter lick in measures 1 and 2. I then repeated the C and Cm chords in measure 11.
• Out of 16 measures, the starter lick appears in 7 and is a theme (and "hook")throughout the first part.
• I experimented with different rolls and melody notes and added fill-in licks where needed. I now had the structure of part 1 of "Morocco Moonshine."

• For part 2, I started with C and then repeated the Cm from part 1. Instead of C and Cm in 1 measure, I extended the chords to a full measure each. Playing each chord in 2 positions (frets 1-2, then 4-5) provided variation. I then played G and used the starter lick. Next, I went back to C and Cm and played the Cm up the neck for more variation.
• Finally, I repeated the F-D-G from part 1 but extended the F and D to 2 measures each. To resolve the sound, I repeated part 1 of the song (the first 16 measures) as the last half of part 2.
• Repeating the C-Cm and F-D chords in part 2 reflects the chords from part 1 and ties both parts together.
• Both parts 1 and 2 have the same chords but in a different order and length. The song is played as parts 1, 1, 2, 1.

• I wanted an introduction and ending with a bluesy or minor feel to mimic the starter lick. I tried melodic phrases, and the first measure of the introduction/ending replicates the starter lick one octave higher. The next measure keeps the melody going and uses a similar melodic roll. The roll then moves down 2 frets and resolves on the G note (string 2 fret 9).

• Finally, there is the up the neck variation for part 1. The first measure uses most of measure 1 from the introduction/ending, and together with the next measure replicates the starter lick. The variation uses melodic licks and chord positions (for F to D and C to Cm) up the neck to echo part 1 played the down the neck .

That's how I came up with "Morocco Moonshine." I hope you like it and find some useful information in how the song was written.

The following tab and MP3s are for parts 1 and 2 and a variation of part 1. In the first MP3 I play part 1 and part 2, and then end the song. The tab shows how to play the song more than one time, and also shows the ending.

In the second MP3, I play the variation for the first half (16 measures) of part 1 and then indicate that for the second half the regular break for part 1 is played one time.

Click to hear Morocco Moonshine Parts 1,2 and ending.MP3.

Click to hear Morocco Moonshine Variation Part 1.MP3.

About the Author

Bob Altschuler lives in upstate New York and has played bluegrass banjo since 1970. As a banjo instructor, his 25 years of experience includes teaching many students at Banjo Camp North, where he has been the Beginner Bluegrass Track Coordinator since 2003. Bob's training and work as a public school teacher sharpened his teaching abilities, and helped him become a patient and sought after banjo instructor (his day job is now with the NY State Retirement System).

Bob performs with the Dyer Switch band at concerts and festivals across the Northeast, Midwest and South, and recorded "American Airwaves" and "Family Business" CDs with the band. His banjo playing has also been heard on Northeast Public Radio and on television and radio commercials.

You can contact Bob at arobanjo@aol.com, or through the Dyer Switch website at www.dyerswitch.com.