Sorry no jamming going on - they are remodeling - until further notice ....
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Hi all,
we are on summer schedule and here is how it will work: If you know you'll come, write your first name and instrument in the required name field in the blog comment below - e.g. Petra (Fiddle). There is no need to fill out anything else (unless you want to tell us, what you are going to call). And a bonus feature - if you click the box under the comment area, you'll get notified when others comment (rsvp). This way all can see, if we have enough people for a jam ... or if you are the only one.... The system will work best, if you only comment when you know you will come! (Do not post maybes or no shows). A new blog post (with the jam date as title) will show up every Thursday Have fun jamming :) Hi all,
we are on summer schedule and here is how it will work: If you know you'll come, write your first name and instrument in the required name field in the blog comment below - e.g. Petra (Fiddle). There is no need to fill out anything else (unless you want to tell us, what you are going to call). And a bonus feature - if you click the box under the comment area, you'll get notified when others comment (rsvp). This way all can see, if we have enough people for a jam ... or if you are the only one.... The system will work best, if you only comment when you know you will come! (Do not post maybes or no shows). A new blog post (with the jam date as title) will show up every Thursday Have fun jamming :) Hi all,
we are on summer schedule and here is how it will work: If you know you'll come, write your first name and instrument in the required name field in the blog comment below - e.g. Petra (Fiddle). There is no need to fill out anything else (unless you want to tell us, what you are going to call). And a bonus feature - if you click the box under the comment area, you'll get notified when others comment (rsvp). This way all can see, if we have enough people for a jam ... or if you are the only one.... The system will work best, if you only comment when you know you will come! (Do not post maybes or no shows). A new blog post (with the jam date as title) will show up every Thursday Have fun jamming :) Hi all,
we are on summer schedule and here is how it will work: If you know you'll come, write your first name and instrument in the required name field in the blog comment below - e.g. Petra (Fiddle). There is no need to fill out anything else (unless you want to tell us, what you are going to call). And a bonus feature - if you click the box under the comment area, you'll get notified when others comment (rsvp). This way all can see, if we have enough people for a jam ... or if you are the only one.... The system will work best, if you only comment when you know you will come! (Do not post maybes or no shows). A new blog post (with the jam date as title) will show up every Thursday Have fun jamming :) Hi all,
we are on summer schedule and here is how it will work: If you know you'll come, write your first name and instrument in the required name field in the blog comment below - e.g. Petra (Fiddle). There is no need to fill out anything else (unless you want to tell us, what you are going to call). And a bonus feature - if you click the box under the comment area, you'll get notified when others comment (rsvp). This way all can see, if we have enough people for a jam ... or if you are the only one.... The system will work best, if you only comment when you know you will come! (Do not post maybes or no shows). A new blog post (with the jam date as title) will show up every Thursday Have fun jamming :) Hi all,
we are on summer schedule and here is how it will work: If you know you'll come, write your first name and instrument in the required name field in the blog comment below - e.g. Petra (Fiddle). There is no need to fill out anything else (unless you want to tell us, what you are going to call). And a bonus feature - if you click the box under the comment area, you'll get notified when others comment (rsvp). This way all can see, if we have enough people for a jam ... or if you are the only one.... The system will work best, if you only comment when you know you will come! (Do not post maybes or no shows). A new blog post (with the jam date as title) will show up every Thursday Have fun jamming :) Hi, The jam on this coming Wednesday will be the last beginner jam I host until after Labor Day. When it gets closer to the time that I will resume leading the jam, I will send out new song lists for the final phase of the beginner jam (Sept. - Dec. 2018). At the beginning of January 2019, the current beginner jam group will be relabeled as intermediate, and I will start a new beginner jam. The song of the week is 'Soldier's Joy' in the key of D. Soldier's Joy is one of the more popular traditional fiddle tunes in Bluegrass circles, but one will hear it played not only at Bluegrass jams, but also at Old-Time jams, at square dances, contradances, and even sometimes at Irish sessions. Recordings Ralph Stanley and the Clinch Mountain Boys (guitar & fiddle breaks) (starts at 3:50) - key of D http://www.youtube.com/watch?v=xyZWC5CVdaI Larry Rice and the Bottom Dollar Boys (mandolin, fiddle, Scruggs-style banjo: tuned GCGBD, & guitar breaks) - key of D http://www.youtube.com/watch?v=wzZ2tSENgTY Earl Scruggs & John McEuen: a good example of Scruggs-style banjo and Clawhammer banjo being played together. Scruggs' banjo is tuned GCGBD; John McEuen's banjo is tuned GCGCE. Note: since there is no fiddle or mandolin here, they get away with playing Soldier's Joy in C (no capo) instead of D (capo 2). https://www.youtube.com/watch?v=B5OKxPE59Bo Form Soldier's Joy follows the most typical form for traditional fiddle tunes: AABB (can be thought of as: verse, verse, chorus, chorus, if this helps), with each A-Part and each B-Part being 8 measures long. (Total: 32 measures). Like most traditional fiddle tunes, there is only one key that it is usually played in: in this case 'D'. Progression The chord progression that we use at the beginner jam for 'Soldier's Joy' is the one that I have heard most frequently at Bluegrass Jams and on Bluegrass recordings of the tune. It is: A-Part: 1 1 1 5 1 1 1/5 1 B-Part 1 4 1 5 1 4 1/5 1 In the key of D: 1 = D; 4 = G; 5 = A. 'To capo or not to capo' Many banjo players and some guitar players prefer to play Soldier's Joy in D by capoing to the 2nd fret and then playing it as if in 'C'. For this reason, I have included both key of D and key of C tabs for banjo and guitar in the attachments. If you have the capo on the 2nd fret for playing Soldier's Joy in D, then your chord shapes need to be the same as those for playing in the key of C without a capo: 1=C; 4=F; 5=G. Banjo Tunings Note: On banjo, no matter which of these two options you choose: capo 2 or no capo, you will need to raise your 5th string up to an A note (i.e., spike/capo your 5th string to the 7th fret) in order to be able to play an effective Scruggs-style or Clawhammer-style break. Most Scruggs-style banjo players who prefer the capo 2 option tune their 4th string down a whole step so as to retain access to the lowest melody note in the tune when playing within the first 5 frets. (This is called 'C tuning': without the capo the 4th string will be tuned down to a C note. With the capo on the 2nd fret, the 4th string will then register as a D note when not fretted.) Most clawhammer banjo players play Soldier's Joy either by tuning to Double C tuning: GCGCD or Open C tuning: GCGCE, and then capo to the 2nd fret in order to be playing in D. Intro Since the most effective way to start most fiddle tunes at a jam is by playing an 8 potato intro before starting into the first A-Part of your intro break, I have included an attachment that gives 8 potato intros suitable for Soldier's Joy and most other key of D fiddle tunes, for fiddle, mandolin, guitar, and banjo. An 8 potato intro, reduced to its most basic form, essentially consists of droning the note that has the same name as the key of the tune in a highly rhythmic fashion for 4 measures. Accenting the first pickstroke (or, on fiddle, bowstroke) of each measure of the intro is crucial to an effective 8 potato intro, so as to make it unmistakably clear where each of the measures that make up the intro begin and end; it also helps to accent the first pickstroke/bowstroke of the second half of each measure, but this accent should not be quite as heavy as the accent on the beginning of the measure. Choose a version of the 8 potato intro that works for you, but don't wait until you are at the jam to 'practice' it. Make it habit to always start most of your fiddle tunes with 8 potato intros when you are practicing at home so that you will be better prepared to effectively use 8 potato intros when playing with others. Important: If you have pickup notes leading into the first complete measure of your break, you must cut the 8 potato intro short by playing the pickup notes in place of the corresponding part of the last measure of the 8 potato intro, so that you end up with exactly 4 measures worth of music, no more and no less, before the first full measure of your intro break starts. Melody & Breaks 'Soldier's Joy' is one of those tunes which - in one and the same version - is often played both with so many melody notes that there is little room left for additional 'filler' notes (i.e., as many as 8 melody notes per measure), and with the bare minimum of melody notes necessary to retain the identity of the tune (no more than 3 or 4 melody notes per measure). In my many years of experience with listening to hundreds of versions of this tune and playing it in a wide variety of jam situations, I have found that in playing 'Soldier's Joy', Bluegrass and Irish fiddlers and melodic (Keith) style banjo players tend towards trying to squeeze in as many melody notes as possible, while Scruggs-style and Clawhammer banjo players and Dobro players tend to play as few melody notes as necessary. Old-Time fiddlers, mandolin players, and flatpickers tend to fall somewhere in between these two extremes. In place of the melody sheets that I usually include in the attachments for the song of the week emails, I have given an assortment of breaks for fiddle, mandolin, guitar, 3 finger-style banjo, and clawhammer banjo. For those of you who find it helpful to learn from sheet music/tab, I suggest taking a look at each of the breaks provided for your instrument before you try any of them out. And, there is no need to learn/memorize any of the breaks exactly as written. You may wish to mix and match some of them with each other, and with the ways that you already play breaks for the tune, so as to create breaks that work best for you, both in terms of your level of playing ability, and personal preferences. Also, if you are able to read music written for instruments other than the one that you play at the jam, you can get additional ideas for breaks on your instrument from the breaks written for other instruments. Happy Pickin', Jason
Hi, The song of the week is 'Little Cabin Home On The Hill' in the key of A. Recordings Here is the original recording of Little Cabin Home On The Hill, as performed by the first bluegrass band: Bill Monroe and the Bluegrass Boys: Bill Monroe - key of A https://www.youtube.com/watch?v=_GbU45MyMFc Pay close attention to the tempo and feel of this original version of the song, and for harmony singers, also the phrasing of the lyrics on the chorus, since this is the version that I model my way of playing and singing the song after when I lead it at jams. Here is a live version of Little Cabin Home On The Hill performed by Bill Monroe and Lester Flatt several years after they originally recorded the song together: https://www.youtube.com/watch?v=wnnNlU8lb5w Here is a live version of the song from the Osborne Brothers in which Bobby Osborne sings the same tenor part that Bill Monroe sang on the old classic recording of the song, and all but drowns out the other parts, which makes it a good source to learn the harmony part from, but not for learning the lead part from. Osborne Brothers: key of B https://www.youtube.com/watch?v=NWwwaWhxaYs Bluegrass History Bill Monroe had been recording since 1936, first with his older brother Charlie, under the name 'The Monroe Brothers', and then, from 1940 onward, with his own band 'The Bluegrass Boys', but it wasn't until 1945 that all the essential components that would eventually make it possible to classify Bill Monroe's music as belonging to a genre (now known as Bluegrass) distinct from any other genre of music that preceded it, all came together in his band. So, within the context of this perspective on the origin of bluegrass, a perspective that is shared by many scholars and fans of bluegrass music, the first bluegrass band was Bill Monroe and the Bluegrass Boys in its 1945 - 1948 line-up, consisting of Bill Monroe (Sept. 13, 1911 - Sept. 9, 1996) on mandolin, and tenor harmony (and sometimes solo lead vocal), Lester Flatt (June 19, 1914 - May 11, 1979) on rhythm guitar and lead vocal, Earl Scruggs (Jan. 6, 1924 - Mar. 28, 2012) on 5-string banjo, Chubby Wise (Oct. 2, 1915 - Jan. 6, 1996) on fiddle, and Howard Watts, a.k.a. Cedric Rainwater (Feb. 19, 1913 - Jan. 21, 1970) on upright bass. And the first bluegrass recordings were the 28 songs recorded in 1946 and 1947 by this line-up of The Bluegrass Boys. These first bluegrass recordings remain to this day an indispensable point of reference for defining the bluegrass genre as a whole. This is true even though not every component that we now take for granted as being a characteristic part of bluegrass music is represented on these records. There are no guitar breaks on these records. There is also no dobro in the band. None of the Gospel songs on these records are sung acappella. All the various ways of stacking three-part harmonies which are now commonplace in bluegrass are not accounted for. These were all later developments in bluegrass music. There are no flashy instrumental banjo-feature tunes. Earl Scruggs, Don Reno, and Ralph Stanley hadn't composed these yet, (or at least, had not yet recorded them.) Harmony Many of the songs on the first bluegrass recordings feature two-part harmony on the choruses, with Lester singing lead, and Bill singing the tenor harmony part which is higher than the lead part. These are good records to learn bluegrass harmony from, for Bill's voice is easy to distinguish from Lester's and is usually at a high volume in the mix. Be careful, though, when trying to learn the lead part from the records, for Bill's harmony part could be mistaken for the melody at certain points simply because it is so dominant. If Bill's harmony parts are too high pitched for your vocal range (and this will be the case for many men; many women, on the other hand, will find that Bill sings in a range that is close to their own vocal range) to duplicate while singing along with the records, trying singing the same notes an octave lower. The resulting harmony part is known as the 'low tenor', and is lower than a baritone harmony: that is, it is two parts lower than the lead part. In the attachments, in addition to the melody sheets for the verse which I provide primarily for the sake of giving people a good starting point for coming up with melody-based breaks for the song, I have also included a sheet that shows the melody and the tenor harmony for the chorus. For each pair of notes, the lower of the two is the melody note, and the higher of the two is the tenor harmony note. Progression The chord progression for the verses and breaks is: 1141 1155 1141 1511 (V6 on the basic progressions chart) The progression for the chorus is: 4411 1155 1141 1511 (X6 on the basic progressions chart) This a common combination of chord progressions in bluegrass songs. More Classic Recordings Now back to more 1946 - 1947 classic bluegrass records from the original bluegrass band. These are all well worth listening to closely: Heavy Traffic Ahead https://www.youtube.com/watch?v=tyQr0zGdNdA This was the first song recorded by the original bluegrass band. It is solo vocal number, with a swing feel to it, written and sung by Bill Monroe. It starts with each instrument in the band other than the bass taking a turn playing a. now quite typical and cliche, 1-measure bluegrass fillin-lick. I'm Goin' Back To Old Kentucky https://www.youtube.com/watch?v=1gzLdo8kT5g This song conforms perfectly to what has become one of the most standard types of arrangements for bluegrass songs when played at jams: full-length intro break, chorus, break (on a different instrument than the one that played the intro break), verse, chorus, break, verse, chorus, break, verse, chorus, break, chorus, with a solo vocal on the verses and harmony on the choruses. Bluegrass Breakdown https://www.youtube.com/watch?v=k5bGe4fpLHs This is mandolin-feature break-neck speed bluegrass instrumental composed by Bill Monroe. It is the first of its type, and it blew audiences away when they first heard it. It is also the immediate precursor of Earl Scruggs' famous banjo-feature tune 'Foggy Mountain Breakdown'. Wicked Path Of Sin https://www.youtube.com/watch?v=pkQDp6TOh_g This is a Gospel song that features 4-part harmony with sparse instrumental accompaniment (mandolin and guitar), and only short 'turnaround' breaks on the mandolin. This type of arrangement has been used on countless bluegrass recordings of Gospel songs. Mother's Only Sleeping https://www.youtube.com/watch?v=lGLmwX-GXfc This is a good example of the type of fast 3/4 (or 6/4) time song that The Stanley Brothers would shortly thereafter become especially known for. Blue Moon Of Kentucky https://www.youtube.com/watch?v=JAVFpThoeb4 A slower 3/4 time song that, under the influence of Elvis, Bill Monroe would later record again with a cut time (2/2) section coming after a 3/4 time section. It's Mighty Dark To Travel https://www.youtube.com/watch?v=EWfpWm8aUI8 Along the same lines as 'I'm Goin' Back To Old Kentucky'. Will You Be Loving Another Man https://www.youtube.com/watch?v=4dJzPql4AOk Sweetheart You Done Me Wrong https://www.youtube.com/watch?v=L668QuLYOnE A moderately slow song with a distinctive feel to it that has been popular at some times at the various incarnations of the Pioneer Building beginner and intermediate jams. My Rose Of Old Kentucky https://www.youtube.com/watch?v=-NFiOPU6kIA Molly And Tenbroooks https://www.youtube.com/watch?v=8pK3kfq4y6Q A trad. song that Monroe liked to use as a banjo-feature song. The Old Cross Road https://www.youtube.com/watch?v=X10LutI_pis A Gospel song with bluesy/mountain minor note choices. Blue Yodel No. 4 https://www.youtube.com/watch?v=RgNOw_WIphQ A solo vocal Jimmie Rodgers yodeling song that has a similar feel to an earlier Bill Monroe song, 'Rocky Road Blues' which is played often at our jam. Toy Heart https://www.youtube.com/watch?v=Cd6cA-Z-qlw When You Are Lonely https://www.youtube.com/watch?v=0ZO4aWyDX-g The 12 remaining songs recorded by Bill Monroe and the Bluegrass Boys in 1946 and 1947 are: Why Did You Wander Summertime Is Past And Gone Mansions For Me How Will I Explain About You I Hear A Sweet Voice Calling That Home Above Remember The Cross Little Community Church Along About Daybreak Shine Hallelujah Shine I'm Travellin' On And On Shining Path Most of these 28 songs are Bill Monroe and/or Lester Flatt originals written with this line up of The Bluegrass Boys in mind, rather than traditional songs that pre-date this first bluegrass band. If you wish to listen to more recent bluegrass recordings of many of these 28 songs, mixed in with many other slightly later bluegrass classics, in arrangements that sometimes include some of the additional bluegrass components that are absent on the original recordings (e.g., guitar and dobro breaks), an excellent place to start is with 'The Bluegrass Album Band' (a.k.a., California Connection) records, and with 'Ricky Skaggs', esp. with his band 'Kentucky Thunder'. Happy Pickin', Jason
Hi, The song of the week is 'Way Down Town' in the key of E. Recordings Tony Rice (key of D): http://www.youtube.com/watch?v=4u326dPx_5U The Nitty Gritty Dirt Band with Doc Watson (key of D) https://www.youtube.com/watch?v=V4boKwvWNZc Doc and Merle Watson (key of E) https://www.youtube.com/watch?v=Gf_1Zwl6i9g Progression Way Down Town has the same chord progression as 'This Land Is Your Land', 'Gold Watch And Chain', 'Back Up And Push', 'Rubber Dolly', the B-Parts of Red 'Red Wing', 'Randy Lynn Rag', and 'Home Sweet Home' and the choruses of 'How Mountain Girls Can Love', 'Think Of What You've Done', 'Snow Deer', 'Montana Cowboy', 'Cash On The Barrelhead', and 'Shall We Gather At The River' and many other common bluegrass and old-time songs. It is the same 8 measure cycle repeated over and over again: 4411 5511 Twice through this 8 measure cycle is the length of one part of the song, whether that be a verse, a chorus, or a full-length break. (Prog. W10 on the Basic Chord Progressions handout.) ...which in the key of E is: AAEE BBEE The notes that make up the E chord are: EG#B The notes that make up the A chord are: AC#E The notes that make up the B chord are: BD#F# Together, these 7 notes make up the E major scale: (four sharps:) EF#G#ABC#D#. Relation of E to A The key of E is a closely related key to the key of A. For they share 6 of the 7 notes in common that make up their Major scales. (The A Major Scale has a D instead of a D#) The A Major Scale has 3 sharps instead of 4: ABC#DEF#G#. For their 1,4, and 5 chords, the keys of E and A have two chords in common, namely E and A. In the key of A, 1=A, 4=D, and 5=E. In the key of E: 1=E, 4=A, and 5=B. Melody Way Down Town has a fairly narrow melodic range. In the key of E, the lowest note is 'e', and the highest note is 'c#'. The melody therefore does not contain a d# note, which is the note that distinguishes the E Major Scale from the A Major Scale. In ascending order of pitch, the melody notes are: E, F#, G#, A, B, C#. This is the very same range of notes that the melodies of All The Good Times Are Past And Gone, Little Birdie, Gold Watch And Chain, Goodnight Irene, Leaning On The Everlasting Arms, This Little Light Of Mine, and Worried Man Blues consist of when played in the key of A. Although, in the attachments, I have included melody sheets for this song, I suggest that this would be a good song to try to learn the melody by ear for those who do not have much experience yet with picking up melodies by ear. Fiddle & Mandolin: Easy Double Stops Notice that, in first position, the melody is carried on only the 2nd and 3rd strings. It is convenient that the 1st string on the fiddle and on the mandolin is tuned to an E note, for both the E and the A chords contain that note. Therefore, the open first string can be played along with the melody notes that occur on the 2nd string during E and A chord measures to create double stops. Banjo: Capo 2, Spike 9 I recommend that banjo players try to play this song with the capo on the 2nd fret and with the fifth string capoed, or spiked to a 'b' note, i.e., 9th fret, playing as if in the key of D. This way the melody can be located on the 3rd and 4th strings at the very same locations as is most common for melody notes for songs played in the key of G (or with a capo, A, Bb, etc.) See the attached melody sheet. Guitar: Capo 2 or 4 Guitar players will probably want to capo either to the second fret to play as if in D (1=D; 4=G; 5=A) or to the fourth fret to play as if in C (1=C; 4=F; 5=G). The latter option will work better for those who wish to play a Carter-style break for Way Down Town, but the first option lends itself more easily to the use of 'blue notes' which can also sound good when used in appropriate spots in breaks for this song. Therefore, I have included two melody sheets in the attachments in guitar tab. Happy Pickin', Jason
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Jason's Beginner Jam Blog 2017 - 2018
Songs regularly called at the Beginner Bluegrass Jam and links from Jason's "Song of the Week" emails. (from Renee)
Songs
All
in alphabetical order
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