Hi,
The song of the week is 'In The Pines' in the key of E. 
'In The Pines' is in 3/4 time (a.k.a. 'waltz time': 3 beats per measure: guitar rhythm: boom-chuck-chuck), and is usually played at a slow tempo. 

Progression
The chord progression is:

1141
1511
In the key of E: 1=E, 4=A, 5=B

Recordings
Bill Monroe - key of F
https://www.youtube.com/watch?v=8_UkluxB7gc

Boone Creek (Ricky Skaggs on lead vocal) - key of B. Notice that the chorus is shorter than on the previous version: this is the way (i.e., with the 'woo-woo-woos' mimicking the sound of the wind omitted) that  I sing the song.
https://www.youtube.com/watch?v=0kjiRfqFhUM

Peter Rowan - key of E
https://www.youtube.com/watch?v=tKh8XjgoQfc

Melody & Breaks
The melody of In The Pines uses only the first 5 notes of the major scale. In the key of E, these notes are, from lowest to highest: E, F#, G#, A, B. However, In The Pines lends itself well to being played with more of a lonesome or bluesy feel to it than what would seem to be implied by the notes that the melody consists of. So, in both my backup playing and in my breaks, I tend to make a lot of use of b3 and b7 notes. In the key of E, those notes are G and D respectively. 

For instance, when playing a melody-based break for the song, I will tend to substitute G notes in place of some of the G# notes, and in my fillin licks - both in my breaks and in my backup playing - I will tend to use D notes in spots where I would much more often use C# notes instead. Many of my fillin licks, and other licks that I might use in a break when I am not attempting to stick close to the melody, will consist solely of the notes that make up the minor pentatonic scale. The E minor pentatonic scale consists of the notes: E, G, A, B, and D 

To get a feel for how one might get started in doing this for a melody-based break for 'In The Pines', I have included in the attachments, in addition to the melody as I tend to sing it (which consists of just E, F#, G#, A, and B notes), a modified 'melody' that adds 3 additional notes into the mix: G, A#, and D. When I am really going for a 'bluesy' feel in a break or in a fillin lick for 'In The Pines', I will make frequent use of the A#/Bb note as a passing note between A and B notes, whether ascending: A, A#, B, or descending: B, Bb, A. If you choose to make use of this note, be careful about how long you linger on it, for it clashes severely with all three of the chords in the song.

The 'modified melody' in the attachments is only a basic example of how one might go about making use of the three extra notes to give a lonesome or bluesy sound to one's breaks. There are many more ways in which one might make use of these notes in one's breaks (and also in one's backup playing), so I suggest experimenting with these notes a bit. You might, for instance, take some licks you already know, and try modifying them in various ways to include one or more of these notes in them. In doing this, you might find it helpful to listen closely to the Boone Creek version of 'In The Pines' - see the link below - to use as a point of reference for the kind of 'sound' or 'feel' to aim for.

Due to its slow tempo, you might find that playing 'In The Pines' at the jam affords you with a good opportunity to try to get more 8th notes - and even 8th note triplets (see the explanation below if you are not sure what 8th note triplets are) - into your breaks than what you otherwise tend to play. You might also like to use the song as an opportunity to work on improvising (i.e., making up a break on the fly), since the slow tempo allows one a bit more time to think about which note or combination of notes one might like to play next.

Swung 8ths and 8th Note Triplets
There are a couple of symbols on the melody sheets attached here that you will not see often on the melody sheets for the song of the week.

The first one, at the top of the pages, consists of a pair of 8th notes followed by an equals sign followed by three 8th notes of which the first two are tied together and the numeral '3' occurs above the three 8th notes. This means that whenever you see a pair of 8th notes in the written music, the first of the two notes is held twice as long as the second one, but together, they take up the same amount of time in the measure as what two 'ordinary' (evenly spaced) 8th notes take up. To get the feel for this, sing (or play) the melody along with the sung choruses on the youtube link provided below, making sure that your 8th notes line up with the vocal phrasing. 

The numeral '3' which is placed below the staff under the group of three 8th notes in the second to last measure of the 'modified melody' indicates a triplet. Each note of an 8th note triplet lasts one-third the length of a quarter note; so, together, these three notes last the same amount of time as a single quarter note.

Guitar Tab Melody Sheets
For playing in the key of E, Bluegrass guitar players most often capo either to the 2nd fret and then play as if in D or capo to the 4th fret and then play as if in C. But, for In The Pines, as well as for many other songs in which it is desirable to make use of a lot of 'blue notes' (i.e., b3 and b7 notes) in one's playing, the 'capo 4  play as if in C' option can make doing this more awkward than what it needs to be, so I have not included a key of C melody sheet in the guitar tab attachments. (In the key of D, the b3 and b7 notes are F and C, whereas in the key of C, the b3 and b7 notes are Eb and Bb.)

However, in addition to the key of D guitar tab melody sheet, I have included a key of E melody sheet in the guitar tab attachments, since playing in the key of E without a capo lends itself at least just as well to the use of blue notes as what the 'capo 2 play as if in D' option does. If you have never tried playing a guitar break in the key of E without a capo, but would like to, I suggest that In the Pines is a good song to start with.

Note: When playing in the key of E without a capo, Bluegrass guitar players tend to play a B7 rather than a B for the '5' chord.

Banjo Tab Melody Sheet
Both the range of the melody for In The Pines and the desirability of using many 'blue notes' in one's breaks and backup playing for the song make the 'capo 2, play as if in D' option more practical than the 'capo 4, play as if in C' option. Therefore, I have included a key of D banjo tab melody sheet in the attachments, but not a key of C tab. 

For banjo players using the melody sheet as a guide for creating a break: for successive 8th notes in the melody, or in fillin licks, there is no need to avoid picking the same string two or more times in a row with the same finger: the song is played slowly enough to allow one to be able to play smoothly even while temporarily breaking away from typical banjo picking patterns in cases where doing so ends up being a more straightforward and simpler option.

Song List
15 songs were played at last night's jam: 

Clinch Mountain Backstep - A
Cry, Cry Darlin' - A
Homestead On The Farm - A
In The Pines - E
Liberty - D
Little Cabin Home On The Hill - A
Little Willie - A
Lonesome Road Blues - G
Old Joe Clark - A
We'll Meet Again Sweetheart - C
Wildwood Flower - A
Little Darling Pal Of Mine - B
Foggy Mountain Top - G
Old Home Place - Bb https://www.youtube.com/watch?v=UChaXhy26Fc
Salt Creek - A https://www.youtube.com/watch?v=JB83FT31caA

The progression for 'Old Home Place' is: 

Verses & Breaks: 1341
                             1155
                             1341
                             1511
Chorus: 5511

              2255
              1341
              1511

In the key of Bb: 2 = C; 3 = D. In the key of G: 2 = A; 3 = B.

The progression we used for 'Salt Creek' was:

A-Part: 1    1/4  b7   b7/5
            1    1/4  b7   5/1

B-Part: 1    1    b7    b7
            1    1    b7    5/1

In the key of A: b7 = G. In the key of G: b7 = F.

Happy Pickin',
Jason

Hi,
The song of the week is 'Little Willie' in the key of A.

Recordings
The Stanley Brothers - key of A
https://www.youtube.com/watch?v=vw2yH1iDYYg

John Reischman & The Jaybirds  - key of C
https://www.youtube.com/watch?v=84lf7l2BMqc

Progression
The chord progression for Little Willie is:
1   1   b7  b7
1   5   1    1
1   1   b7  b7
1   5   1    1

The b7 Chord
The b7 (flat-seven) chord is always one whole step (= two half steps) lower than the 1 chord. 

If you know the 7 letter circular musical alphabet, and know that there is a note between every natural note except between B and C and between E and F, and know what is meant by a whole step (or by two half steps) and what is meant by flat (b) and sharp (#) and natural, then you have all the information you need to know in order to very quickly calculate what the b7 chord is for every key (albeit perhaps not the all the information you need in order to ensure that you are always naming it correctly: e.g., G# - incorrectly named - in place of Ab - correctly named - for the key of Bb, even though G# and Ab are one and the same note/chord).

Although we only use 8 of the 12 Major keys at our jam, here is the b7 chord for all 12 Major keys:

G:   b7 = F
Ab: b7 = Gb
A:   b7 = G
Bb: b7 = Ab
B:   b7 = A
C:   b7 = Bb
C#: b7 = B (or Db: b7 = Cb)
D:   b7 = C
Eb: b7 = Db
E:   b7 = D
F:   b7 = Eb
F#: b7 = E (or Gb: b7 = Fb)

Banjo and guitar players who regularly make use of a capo should at the very least memorize the letter name of the b7 chord for the keys of G, C, and D. 

Guitar players whose guitars are set up to be capable of the level of volume needed in order to stand a chance of cutting through at a large Bluegrass jam
(medium or heavy gauge strings and high action) will find it helpful to remember that the b7 chord in the key of C is Bb, so that when they know that the song about to be played at the jam has a b7 chord in it, and is going to be played in the key of C, or D, or E, or F, they can choose a option that will not require them to play a Bb chord-shape: for this chord-shape is physically difficult to form and to make sound right on a guitar with high action and medium to heavy gauge strings.

4 vs. b7
When I am playing guitar, my F shape chords look so similar to my C shape chords that, in order to distinguish them from each other, you may find it easier to rely on your ear to hear the difference between when I am playing a b7 chord instead of a 4 chord for the keys of G, A, Bb, B, and C, than to rely on what you (may think you) are seeing on my guitar. 

The b7 chord sounds distinctively different than the 4 chord (even if not as different as what the b7 sounds like relative to the 1 and the 5). To help familiarize yourself with the specific sound of the b7 chord, you may find it helpful to listen to some of the following songs that use this chord back to back with songs that have only the 1,4 and 5 chords in them. 

'Rain And Snow' (This song uses only the 1 and b7 chords: every line of the progression is 1 b7 1 1.)  Key of G: 
 https://www.youtube.com/watch?v=0dUUGRHej_Q

'June Apple' (1 and b7 chords in the A-Part, 1, b7,  and 4 chords in the B-Part: no 5 chord): Key of A: https://www.youtube.com/watch?v=2b-8fxsjnZY 

'Little Maggie' - (1, b7, and 5 chords, like Little Willie) Key of C:  https://www.youtube.com/watch?v=UXl5YJrVeII  

'High On A Mountain' (2nd measure of the 3rd line of the verses and breaks, 2nd measure of lines 1 and 3 of the choruses) Key of G:  https://www.youtube.com/watch?v=uw82yX4b_vE

'Red Haired Boy' (4th measure of the A-Part, 1st and 4th measures of the B-Part) Key of A: https://www.youtube.com/watch?v=4ZJZrOhwEQA

'Old Joe Clark' (The b7 chord occurs in the 4th measure of the B-Part; the corresponding spot in the A-Part uses the 5 chord; the tune does not use the 4 chord) Key of A: https://www.youtube.com/watch?v=sYu_FdJWDs0

You may also find it helpful to play through the progression for Little Willie back to back with the progression for Nine Pound Hammer, for the only difference between the two progressions is that Nine Pound Hammer uses the 4 chord in the spots where Little Willie uses the b7 chord.

Melody
In the version of the melody for Little Willie given in the attachments, which is based upon how Ralph Stanley sang the song on the Stanley Brothers recording, the melody consists of the first 5 notes of the Major Scale (A, B, C#, D, and E in the key of A; G, A, B, C, and D in the key of G), plus the two 'blue notes' b3 (C in the key of A; Bb in the key of G) and b7 (G in the key of A; F in the key of G). It is because the b7 note is lingered on in measure 3 of lines 1 and 3 that the progression for the song contains the b7 chord.

Song List
19 songs were played at the jam on Wednesday:

Clinch Mountain Backstep - A
Cry, Cry Darlin' - A
Down The Road - B
Homestead On The Farm - A
I'll Still Write Your Name In The Sand - A
In The Pines - G
In The Sweet By And By - B
Liberty - D
Little Cabin Home On The Hill - D
Little Willie - A
Mountain Dew - A
Old Joe Clark - A
Turkey In The Straw - G
Worried Man Blues - G
Angeline The Baker - D
Lonesome Feeling - C
How Mountain Girls Can Love - E
Little Birdie - C
Flint Hill Special - G https://www.youtube.com/watch?v=BZ5SzHd8-gY

Happy Pickin',
Jason

Hi, 
The song of the week is 'Liberty' in the key of D.

Recordings
Flatt & Scruggs with Doc Watson 
https://www.youtube.com/watch?v=4ugu-QwHWaA

Midwest Banjo Camp 2013: Bill Keith, Tony Trischka, Greg Cahill, Alan Munde, Ken Perlman, Brad Leftwich, Bill Evans, Janet Beasley, etc.
https://www.youtube.com/watch?v=bE-2NO7WbhE

Byron Berline & John Hickman
https://www.youtube.com/watch?v=dsbIoPhwG5U


Progression
A-Part: 1144
            1151

B-Part: 1115  (Prog. Z1 on the Basic Chord Progressions Chart.)
            1151

Notice the difference between the progression for the B-Part of Liberty (Z1)
and the progression for the A-Parts of Soldier's Joy and Old Joe Clark (Y1):
1    1    1    5
1    1    1/5 1

Tempo
When Liberty was made the song of the week a year ago for this jam (when it was still a beginner jam), I said in the song of the week write-up back then:

"For the next two weeks, I intend on kicking off Liberty at the extremely slow tempo of 72 beats per minute (2 clicks of the metronome per measure). That is 48 beats per minute slower than the standard square dance tempo (120). But after the tune has run through its song of the week cycle, attempts should be made to kick it off at increasingly faster tempos by those who call it at future jams."

In view of the progress that has been made at the jam since that time, for the next three weeks, I intend on kicking off Liberty anywhere between 108 and 120 beats per minute, but perhaps having the group warm up first by playing a break or two at two-thirds of the target tempo (i.e., between 72 and 80 beats per minute). 

The Midwest Banjo Camp 2013 performance of Liberty is on the higher end of the 108 - 120 tempo range (about 116), the Flatt & Scruggs recording is a bit faster than 120, and the Berline & Hickman recording is significantly faster than 120.

Lilt
Despite how they look when written on paper, and what their name implies, a string of consecutive 8th notes should not all be given equal time value when playing most Bluegrass breaks. Rather, they should usually be swung, so that the first 8th note in each pair of 8th notes lasts a bit longer than one-eighth of a measure, stealing time value from the second 8th note in the pair, which in turn takes up a bit less than one-eighth of the measure. The slower that consecutive 8th notes are played, the easier it is to detect whether they are being played in this manner (long-short-long-short, etc., often called 'lilt' or 'bounce'). To hear more clearly what this sounds like, slow down the youtube links provided here to half speed. To do this, click on settings, then click on speed, then click on 0.5. 

Melody
As is the case with most traditional fiddle tunes, there are many versions and interpretations of the melody of Liberty, but most versions one will come across online (whether written or recorded) are compatible with the interpretation of the melody I have offered in the attachments. But, for fiddle, guitar and mandolin players to get the most out of playing Liberty for the next three weeks at the jam, it is best for them to avoid playing a version of the melody that contains significantly fewer cases of consecutive 8th notes than the version I have offered here.

Guitar & Banjo Tabs
With ease of left hand fingering in mind, I have written the guitar and banjo tabs for Liberty in C instead of D. So, guitar and banjo players playing breaks based upon these will need to capo the 2nd fret to raise their playing up from the key of C to the key of D, and will need to make it a point to remember that Liberty is a 'D' tune, not a 'C' tune. 

Banjo Melody Tab
The banjo melody tab in the attachments is not intended to be played as written for a banjo break, but is intended to serve as a guide for creating a Scruggs-style break. For tunes with fast-moving melodies like Liberty, Scruggs-style players tend to incorporate only as much of the melody into their breaks that is needed in order for the tune to be recognizable, and replace the rest of the melody with strategically selected filler-notes.that are compatible with the chord that is called for at the time, and that allow the player to make use of the right hand picking patterns that are typical of the style. In the attachments, I have provided examples of how a Scruggs-style player, using the melody sheet as a guide and following the basic principles of Scruggs-style, might choose to play the first two measures of the A Part and the first two measures of the B Part.

Note to Clawhammer Banjo Players
Clawhammer banjo players usually tune their banjos to double C tuning (GCGCD) for playing Liberty, and then capo the 2nd fret to raise their playing up to D. When tuned this way, in order to make use of the banjo melody tab provided here, one will need to add 2 to the numbers shown on the tab for the 4th string, and subtract 1 from the numbers shown on the tab for the 2nd string. (In the case of the open 2nd string notes shown on the tab, the 4th fret of the 3rd string will need to be used in their place.)

By transferring some of the melody notes shown on the first string in the tab to the 2nd string (and by transferring also the open 2nd string note to the 4th fret of the 3rd string), it is feasible, with the help of drop-thumb, hammer-ons, and pull-offs, for a clawhammer player to grab almost every melody note. However, most clawhammer players take a similar approach to Scruggs-style players in being selective about which melody notes to include in their playing of the tune, substituting filler notes in place of some of the melody notes in ways that allow them to make more use of the picking patterns typical of clawhammer style than what would be the case if they were to try to grab as much of the melody as possible.

8 Potato Intros 
Since there is nothing more effective for kicking off most fiddle tunes at a bluegrass jam than 8 Potato Intros, I have included examples of these in the attachments for each of the 4 primary lead instruments played at the beginner jam: fiddle, mandolin, guitar, and 3-finger style banjo. Players of other instruments/styles can get ideas from these examples, and/or by listening to the 4 Potato intro on the Flatt & Scruggs recording of Liberty, for what to do on their instruments for an 8 Potato intro. 

Notice that the last (4th) measure of the 8 Potato Intro includes the two pickup notes (or in the case of the banjo tab, just one pickup note) that lead into the first complete measure of the A Part of Liberty. If there were no pickup notes into the A Part of Liberty, then all 4 measures of the 8 Potato Intro would be identical with each other. This is important to keep in mind when kicking off fiddle tunes with an 8 Potato Intro. For, if one does not start into the melody at exactly the right time, then the 8 Potato Intro fails to serve its purpose. 

Double Endings
I have also included in the attachments examples of double endings suitable for Liberty for the four primary lead instruments played at the jam, since it is customary at bluegrass jams to end fiddle tunes (and certain other types of instrumentals) with these kinds of endings. 

When playing these endings, it is important to make sure that they start at exactly the right time relative to the end of the final B Part. The incomplete last measure on the melody sheets (2nd ending of the B Part) needs to be completed either by a quarter note rest, or by changing the last note from a quarter note to a half note before the first note of the double ending starts. 

Since the last break played for Liberty at the jam will usually be an 'everybody' break, it makes sense for everyone who played that break to also play the double ending together. 

Those not playing the double ending should stop playing after the last note of the final B Part has been played, and then prepare themselves to do one final note, double stop, or strum that will coincide with the last note of the double ending. In order for them to be able to do this, and to do this confidently, it is important that those playing the double ending play it clearly and with the correct timing.

Song List
18 songs were played at last night's jam: 

Blue Ridge Cabin Home - Bb
Clinch Mountain Backstep - A
Columbus Stockade Blues - G
Cry, Cry Darlin' - G
Down The Road - B
Homestead On The Farm - A
I'll Still Write Your Name In The Sand - A
In The Pines - D
Liberty - D
Mountain Dew - A
Nine Pound Hammer - B
Old Joe Clark - A
We'll Meet Again Sweetheart - D
Wildwood Flower - C
Worried Man Blues - B
Temperance Reel - G
Keep On The Sunny Side - Bb
Cherokee Shuffle - A

Happy Pickin',
Jason

Hi,
The song of the week is 'Homestead On The Farm' (a.k.a. 'I Wonder How The Old Folks Are At Home') in the key of A.

Bluegrass History and Recordings  
Homestead On The Farm was recorded by the Carter Family in 1929, but in bluegrass circles, this song tends to be more closely associated with Mac Wiseman, who first recorded the song more than 20 years after the Carters. On the points where Mac Wiseman's arrangement differs from the Carter Family's arrangement of the song (chord progression, melody, etc.), bluegrass players have tended to follow Mac.

Mac Wiseman, who at the age of 93 is still active in music, played guitar and sang harmony on Flatt and Scruggs' Mercury Sessions recording of 'We'll Meet Again Sweetheart', which was one of the very first records Flatt and Scruggs made together after they left Bill Monroe's band. And, in the role of lead singer and rhythm guitarist, Mac Wiseman was Lester Flatt's immediate successor in Bill Monroe's band. Mac, for instance, is the lead singer on the original 1949 Bill Monroe recording of the popular bluegrass standard 'Can't You Hear Me Calling'. 

Here are two of Mac's recordings, and one live performance, of Homestead On The Farm:
key of Bb:
https://www.youtube.com/watch?v=r6uxNzkH1Vc

key of A:
https://www.youtube.com/watch?v=cBzQXXDC6w4

key of A:
https://www.youtube.com/watch?v=82_0ui4taWI

Progression, Form, and Arrangement 
The chord progression I use for Homestead On The Farm is the same as the one that Mac Wiseman usually used:

Verse:
1411
1144
4411
2255

Chorus:
1411
1144
4411
2511

(In the key of A: 2 = B. The '2' chord is a whole-step higher than the 1 chord, so in the key of Bb: 2 = C; in the key of G: 2 = A, etc.)

Notice that the verse ends on the 5 chord, instead of the 1 chord. This requires the verse progression to be followed by the chorus progression in order for the song to sound resolved. Since the verse ends with one being left hanging on the 5, the chorus may easily come across as though it were simply the second half of a really long verse. For this reason, the parts of the song (breaks, verses, choruses) are usually arranged in such a way that the verse progression is never played twice back to back without the chorus progression intervening.

A typical jam arrangement of the song is:

Intro break - played over the chorus progression, (so that the intro break sounds resolved)
Verse 1
Chorus 
Break - played over the verse progression
Break - played over the chorus progression (by a different instrument than the one that played the immediately preceding break)
Verse 2
Chorus
Break - played over the verse progression
Chorus

If more breaks are needed than this, another break over the verse progression followed by another break over the chorus progression may be inserted right before Verse 2, and/or another break over the chorus progression followed by another break over the verse progression may be inserted right before the final chorus.

The '2' Chord
In a previous song of the week write-up ('I Can't Feel At Home In This World Anymore'), I discussed the 2 chord at length, and then added more information relating to this chord in a more recent song of the week write-up ('Cry Cry Darlin''):

More on the '2' Chord
Just as one may substitute a dominant 7th chord (usually called just simply a 7th chord) in place of a major chord when a 5 chord is called for (e.g., D7 in place of D when playing in the key of G; G7 in place of G when playing in the key of C), so the same is also true for '2' chords (e.g., B7 in place of B when playing in the key of A; D7 in place of D when playing in the key of C; E7 in place of E when playing in the key of D).   

Notice on the Mac Wiseman live performance included here, Mac is playing a B7 instead of a B: and this is common practice for bluegrass rhythm guitar when a B chord shows up when playing in any key without a capo in which the B chord functions as the 5 chord (key of E), the 6 chord (key of D), the 3 chord (key of G), or, in this case, as the 2 chord (key of A). 

However, B7 in place of B would not work well if the B chord were functioning as the 1 chord (key of B), except when used as a transitional chord to lead from the 1 to the 4 (in the key of B, one might for instance play the first half of the I'll Fly Away progression as: BBBB7EEBB), and would not always work well for the 4 chord either (key of F#), and would almost never work for the b7 chord (key of C#). Most bluegrass rhythm guitar players need not concern themselves with this since most of them would never consider playing in any of these keys without a capo, and the two latter keys are not among the 8 Major keys that bluegrass songs are commonly played in at jams. But, it is good for all to be aware - regardless of which instruments they play - that there are only certain chords for which it is safe to habitually substitute dominant 7ths in place of majors. 

When playing in the key of G in standard G tuning, banjo players may often automatically play a dominant 7th in place of a major for the 2 chord (in the key of G, an A7 chord in place of an A chord) without being consciously aware that they are doing so, for the 5th string - the short string - on the banjo is tuned - when in G tuning and when not capoed - to a G note (banjo players rarely ever fret this string), and this is the very note that when added to an A chord makes it into an A7 chord. (This same A7 chord will also often show up in place of an A for the 6 chord when banjo players are playing in C without a capo.)

To make any major chord a dominant 7th chord, all that one does is add to the chord the note that is a whole step lower than the note that has the same letter name as the chord: this is the b7 note/scale degree on the Nashville Number System Chart handout.  


I think it sounds best if only some of the players at any given time, rather than all at the same time, in a band, or at a jam, use the dominant 7th in place of the major when playing over 2, 3, and 6 chords. On 5 chords, I like to hear the dominant 7th used even more sparingly.

Song List
17 songs were played at last night's jam:

Blue Ridge Cabin Home - Bb
Columbus Stockade Blues - A
Cry, Cry Darlin' - G
Down The Road - B
Homestead On The Farm - A
I'll Still Write Your Name In The Sand - Bb
In The Sweet By And By - Bb
Lonesome Road Blues - G
Mountain Dew - A
Nine Pound Hammer - B
Reuben - D
Turkey In The Straw - G
Worried Man Blues - G
Soldier's Joy - D
Keep On The Sunny Side - Bb
Hand Me Down My Walking Cane - A
Gold Rush - A

The chord progression used for Keep On The Sunny Side was:

Verses & Breaks:
1411
1155
5511
5511

Chorus:
1    1    4    1
1    1    5    5
1    1    4    1
1/4 1/5 1    1

Happy Pickin',
Jason