Re: Monroe Camp 2010
Hey Mike, Thanks for those thoughts and insights into the minds of two of the greatest! From: mistertaterbug taterbugmu...@gmail.com To: Taterbugmando taterbugmando@googlegroups.com Sent: Mon, March 15, 2010 6:50:50 PM Subject: Re: Monroe Camp 2010 Don, I think Monroe basically just played his hits and took requests. He seemed to play new tunes as they came around, but he pretty much played the same show for years, of course varying the songs the guitar man could sing. Say a guy like Del McCoury would probably have a different impact on the band's set list than Ralph Lewis or Roland White or Bill Box or Tom Ewing. Hartford played to the crowd at hand. He'd done it so much that he could play about 4-5 songs and figure out 'what they were biting, as he put it. Then he played songs/tunes to suit. He said he'd play one for them, then maybe another one for them, then one for him, then maybe one for him and them, and then another one for them, another for him, etc. When I first went into his band, John was known pretty much for doing his old repertoire, but he was really pushing the Haley fiddle tunes. By the time he had to leave the road, he'd pretty much become known for playing fiddle tunes with a few pot smoking songs thrown in for the lifestyle reinforcement crowd, songs about the river and of course, what John called his money songs. I don't know that vaudeville played any role in the set list, though I do know that there was some amount of discussion now and then about how there had been an established, systematic, and proven method for putting on a successful show ever since the minstrel days. John said that Acuff used bits of it, as did Uncle Dave Macon. I'm not sure how consciously Monroe might have applied it, though I know he did use knowledge of how to throw his voice that was developed back in the early days. A successful show without pyrotechnics? Psshhtt... TBug On Mar 7, 9:06 pm, Don adobeinthepi...@gmail.com wrote: How about something about how Monroe ( Hartford) constructed their set lists? For example, where in the set list does the chicken song go? How were their set lists influenced by vaudeville? Actually you could just answer that one on here as it probably might not take up a whole class session. -- My CD of original tunes played on mandolin, mandola, and mandocellohttp://www.HillbillyChamberMusic.com -- You received this message because you are subscribed to the Google Groups Taterbugmando group. To post to this group, send email to taterbugma...@googlegroups.com. To unsubscribe from this group, send email to taterbugmando+unsubscr...@googlegroups.com. For more options, visit this group at http://groups.google.com/group/taterbugmando?hl=en. -- You received this message because you are subscribed to the Google Groups Taterbugmando group. To post to this group, send email to taterbugma...@googlegroups.com. To unsubscribe from this group, send email to taterbugmando+unsubscr...@googlegroups.com. For more options, visit this group at http://groups.google.com/group/taterbugmando?hl=en.
Re: Monroe Camp 2010
John, I've courted Ronnie Mc for the last two years. No dice. He's busy(or in this year's instance, *might* be...). Skaggs flat out said he was too busy. Sam and Grisman would be good, but they command a high price and are really doing other things. There is quite a large percentage of people who come to the camp that are staunch Monroe fanatics that really have little tolerance for much foolishness, as I'm sure you're aware of by now. I've already approached Terry about a jam class. Some of your other topics have been run through the mill to good use, some passed over, some seem very hard to present, but I do understand what you're getting at with them all. One thing that Jody suggested last year was to maybe use one class period to teach one song such as one of the more lengthy and elaborate tunes like Tanyards or Land of Lincoln, explain the moves and make sure everyone understands what's going on. I agree with that one. Theory talk is over my head and I really don't think that a lot of the public gets it anyway. Keep 'em coming. TBugger On Mar 9, 9:11 pm, taurodont jgardin...@roadrunner.com wrote: I have been to all of the previous camps. I think it is time to court Ronnie McCoury for one of these. Or Sam? That said I thought last years line up was fantastic. The wonderful tenor vocalists really made the faculty concert special. A few topics to consider: 1. Closed position playing and techniques Monroe used and repeated. 2. A whole class on the break to Columbus Stockade Blues 3. Double stops- can you ever really have enough? 4. Blue Moon of Ky. in 3 keys 5. Rhythm patterns- the whole class plays the same chord or double stop but has to learn a variety of different, useful rhythms. 6. Compare a known melody against Monroe's interpretation of it. 7. Playing the same note for more than one beat. This elementary technique seems to be almost lost in many of todays pickers. 8. A class on restraint. Possibly the hardest technique to master. Some tunes Bill only took a half break on. why? 9. A class on vocal harmony. Maybe show the notes on the mandolin to help explain the intervals at work. 10. Mastering the keys of B and Bb in one easy lesson. Obviously bullshit but always good to learn more about as long as they make capos for banjo players. 11. Turnaround kickoffs- I sat in on Richie's class last year and it seemed to be a hit. These miniature pieces people can master relatively quickly and feel like they are leaving with something useful. 12. Singing one of Bill's tunes in a normal humans register. I.E. transposition. 13. Intro to the bluegrass jam for beginners featuring a few Bill tunes. This would be a good one to supply a few basic tabs and chords for a few months in advance for them to work on. Last year one of the fellow campers suggested that the intermediate or advanced Campers could easily teach some of the beginners classes. I would be willing and I bet we could get Terry Bullin to teach that Stockade Blues class if we can get him out of N.C. for a weekend. Just a thought. Maybe with a slight tuition reduction or something. I wouldn't do it so much for the money as for the fact that I enjoy teaching. This might leave more funds for the pro's? I think any int./ adv. picker could fill up a beginners class on double stops or a basic class on a fiddle tune or pick direction. Good luck planning this thing Mike. I am sure with you at the helm it will be worth going to. Figure I'll be there again. John On Mar 9, 11:48 am, Mike Hedding michaelhedd...@gmail.com wrote: I still think another good topic for discussion would be taking a tune monroe didn't typically play and have the class try to individually create their own monroe influenced solo for the song. I think this could lead to some good discussion if everyone played their solo's and kind of compared what parts of the melody the skipped or tried to bring out. I think it'd be interesting at least, I think you'd get quite of bit of variation between the solos and everyone could kind of steal the best things from each persons solos and the class could then come to some sort of consensus on the final break. This for me is something I need help on anyways. It's sometimes hard to transfer the knowledge to a new tune and make it work in the style that we all love. Any help on this would be appreciated. Mike -- You received this message because you are subscribed to the Google Groups Taterbugmando group. To post to this group, send email to taterbugma...@googlegroups.com. To unsubscribe from this group, send email to taterbugmando+unsubscr...@googlegroups.com. For more options, visit this group at http://groups.google.com/group/taterbugmando?hl=en.
Re: Monroe Camp 2010
All of the postings here are very interesting and fun to read even tho I will not be present at the workshop, it offers new slants and ideas to think on. It is lots of fun to read about set lists, as its an issue here, great too, the insight into Hartford's way. So far, the way its done in the group I play with is to mix things up, different keys, fast, slow, minor, major, and singing placed between instrumentals. We try for at least one novelty tune in a given set. Also things folks are familiar with and something new... Since we are a fairly large community group band, we take it in turns to develop set lists as a learning experience. Sometimes, a largish preliminary list is made then a vote is taken by raise of hands to whittle down the list to the size needed for the gig. We like to have a set of tunes we are all current with, but add something new, a new tune or a new arrangement, to keep us from getting bored with it. Seems for the pros, everything is very different, maybe some audiences come for the fast ..knock em dead picking, others for the harmony singing, etc. The idea here, is to keep the audience and us alert...as ...we are hardly in the Hartford or Monroe or Compton class of things. We try to avoid playing too many waltzes, it loses the audience's attention pretty quick like. Also we mainly do old-time tunes and they can start to all sound the same to an untrained ear, so breaking things up helps that issue. Audiences here respond the most to singing. Next to seriously toe tapping stuff. With our group, what we lack in musicianship we try to, shall I say, cover up with our vitality and sense of joy/fun for what we are doing. It works for us. Thanks to all... linda On Mar 16, 10:03 am, mistertaterbug taterbugmu...@gmail.com wrote: John, I've courted Ronnie Mc for the last two years. No dice. He's busy(or in this year's instance, *might* be...). Skaggs flat out said he was too busy. Sam and Grisman would be good, but they command a high price and are really doing other things. There is quite a large percentage of people who come to the camp that are staunch Monroe fanatics that really have little tolerance for much foolishness, as I'm sure you're aware of by now. I've already approached Terry about a jam class. Some of your other topics have been run through the mill to good use, some passed over, some seem very hard to present, but I do understand what you're getting at with them all. One thing that Jody suggested last year was to maybe use one class period to teach one song such as one of the more lengthy and elaborate tunes like Tanyards or Land of Lincoln, explain the moves and make sure everyone understands what's going on. I agree with that one. Theory talk is over my head and I really don't think that a lot of the public gets it anyway. Keep 'em coming. TBugger On Mar 9, 9:11 pm, taurodont jgardin...@roadrunner.com wrote: I have been to all of the previous camps. I think it is time to court Ronnie McCoury for one of these. Or Sam? That said I thought last years line up was fantastic. The wonderful tenor vocalists really made the faculty concert special. A few topics to consider: 1. Closed position playing and techniques Monroe used and repeated. 2. A whole class on the break to Columbus Stockade Blues 3. Double stops- can you ever really have enough? 4. Blue Moon of Ky. in 3 keys 5. Rhythm patterns- the whole class plays the same chord or double stop but has to learn a variety of different, useful rhythms. 6. Compare a known melody against Monroe's interpretation of it. 7. Playing the same note for more than one beat. This elementary technique seems to be almost lost in many of todays pickers. 8. A class on restraint. Possibly the hardest technique to master. Some tunes Bill only took a half break on. why? 9. A class on vocal harmony. Maybe show the notes on the mandolin to help explain the intervals at work. 10. Mastering the keys of B and Bb in one easy lesson. Obviously bullshit but always good to learn more about as long as they make capos for banjo players. 11. Turnaround kickoffs- I sat in on Richie's class last year and it seemed to be a hit. These miniature pieces people can master relatively quickly and feel like they are leaving with something useful. 12. Singing one of Bill's tunes in a normal humans register. I.E. transposition. 13. Intro to the bluegrass jam for beginners featuring a few Bill tunes. This would be a good one to supply a few basic tabs and chords for a few months in advance for them to work on. Last year one of the fellow campers suggested that the intermediate or advanced Campers could easily teach some of the beginners classes. I would be willing and I bet we could get Terry Bullin to teach that Stockade Blues class if we can get him out of N.C. for a weekend. Just a thought. Maybe with a slight tuition reduction or something. I
Re: Monroe Camp 2010
Well, keep your toes and fingers crossed. With a little smiling down from the gods I'll be in Canberra next April and might just bring some of those topics along... Putater On Mar 15, 7:10 pm, Linda lj...@intas.net.au wrote: All of the postings here are very interesting and fun to read even tho I will not be present at the workshop, it offers new slants and ideas to think on. It is lots of fun to read about set lists, as its an issue here, great too, the insight into Hartford's way. So far, the way its done in the group I play with is to mix things up, different keys, fast, slow, minor, major, and singing placed between instrumentals. We try for at least one novelty tune in a given set. Also things folks are familiar with and something new... Since we are a fairly large community group band, we take it in turns to develop set lists as a learning experience. Sometimes, a largish preliminary list is made then a vote is taken by raise of hands to whittle down the list to the size needed for the gig. We like to have a set of tunes we are all current with, but add something new, a new tune or a new arrangement, to keep us from getting bored with it. Seems for the pros, everything is very different, maybe some audiences come for the fast ..knock em dead picking, others for the harmony singing, etc. The idea here, is to keep the audience and us alert...as ...we are hardly in the Hartford or Monroe or Compton class of things. We try to avoid playing too many waltzes, it loses the audience's attention pretty quick like. Also we mainly do old-time tunes and they can start to all sound the same to an untrained ear, so breaking things up helps that issue. Audiences here respond the most to singing. Next to seriously toe tapping stuff. With our group, what we lack in musicianship we try to, shall I say, cover up with our vitality and sense of joy/fun for what we are doing. It works for us. Thanks to all... linda On Mar 16, 10:03 am, mistertaterbug taterbugmu...@gmail.com wrote: John, I've courted Ronnie Mc for the last two years. No dice. He's busy(or in this year's instance, *might* be...). Skaggs flat out said he was too busy. Sam and Grisman would be good, but they command a high price and are really doing other things. There is quite a large percentage of people who come to the camp that are staunch Monroe fanatics that really have little tolerance for much foolishness, as I'm sure you're aware of by now. I've already approached Terry about a jam class. Some of your other topics have been run through the mill to good use, some passed over, some seem very hard to present, but I do understand what you're getting at with them all. One thing that Jody suggested last year was to maybe use one class period to teach one song such as one of the more lengthy and elaborate tunes like Tanyards or Land of Lincoln, explain the moves and make sure everyone understands what's going on. I agree with that one. Theory talk is over my head and I really don't think that a lot of the public gets it anyway. Keep 'em coming. TBugger On Mar 9, 9:11 pm, taurodont jgardin...@roadrunner.com wrote: I have been to all of the previous camps. I think it is time to court Ronnie McCoury for one of these. Or Sam? That said I thought last years line up was fantastic. The wonderful tenor vocalists really made the faculty concert special. A few topics to consider: 1. Closed position playing and techniques Monroe used and repeated. 2. A whole class on the break to Columbus Stockade Blues 3. Double stops- can you ever really have enough? 4. Blue Moon of Ky. in 3 keys 5. Rhythm patterns- the whole class plays the same chord or double stop but has to learn a variety of different, useful rhythms. 6. Compare a known melody against Monroe's interpretation of it. 7. Playing the same note for more than one beat. This elementary technique seems to be almost lost in many of todays pickers. 8. A class on restraint. Possibly the hardest technique to master. Some tunes Bill only took a half break on. why? 9. A class on vocal harmony. Maybe show the notes on the mandolin to help explain the intervals at work. 10. Mastering the keys of B and Bb in one easy lesson. Obviously bullshit but always good to learn more about as long as they make capos for banjo players. 11. Turnaround kickoffs- I sat in on Richie's class last year and it seemed to be a hit. These miniature pieces people can master relatively quickly and feel like they are leaving with something useful. 12. Singing one of Bill's tunes in a normal humans register. I.E. transposition. 13. Intro to the bluegrass jam for beginners featuring a few Bill tunes. This would be a good one to supply a few basic tabs and chords for a few months in advance for them to work on. Last year one of the fellow campers suggested
Re: Monroe Camp 2010
Sounds terrific!!! This year we are performing at the national. Gulp, I will be singing Cluck Old Hen in both our half-hour sets. We are also going to release our new CD at the Australian National Folk Festival, if the production process and shipping company live up to expectations. Someone said about 60 thousand people attend. That sounds like a lot of people and don't know if its exactly right or not. Sir Tater, I will be sending you a personal 'signed' copy...ha. We are producing 500, so you know it will one day be a serious collector's item. There is one song on the CD that is worth the price of the entire thing. Its called..Flying Saucers... its a novelty number for sure. The numbers chosen to put on the CD ended up being a bit like a salad of various old-time tunes, from various regions in the States. The sound is just what we are and just what we do. If we post sound samples on our website, I will let y'all know. Now..back to Monroe Camp...enough of Aussie doings on this thread. linda On Mar 16, 11:30 am, mistertaterbug taterbugmu...@gmail.com wrote: Well, keep your toes and fingers crossed. With a little smiling down from the gods I'll be in Canberra next April and might just bring some of those topics along... Putater On Mar 15, 7:10 pm, Linda lj...@intas.net.au wrote: All of the postings here are very interesting and fun to read even tho I will not be present at the workshop, it offers new slants and ideas to think on. It is lots of fun to read about set lists, as its an issue here, great too, the insight into Hartford's way. So far, the way its done in the group I play with is to mix things up, different keys, fast, slow, minor, major, and singing placed between instrumentals. We try for at least one novelty tune in a given set. Also things folks are familiar with and something new... Since we are a fairly large community group band, we take it in turns to develop set lists as a learning experience. Sometimes, a largish preliminary list is made then a vote is taken by raise of hands to whittle down the list to the size needed for the gig. We like to have a set of tunes we are all current with, but add something new, a new tune or a new arrangement, to keep us from getting bored with it. Seems for the pros, everything is very different, maybe some audiences come for the fast ..knock em dead picking, others for the harmony singing, etc. The idea here, is to keep the audience and us alert...as ...we are hardly in the Hartford or Monroe or Compton class of things. We try to avoid playing too many waltzes, it loses the audience's attention pretty quick like. Also we mainly do old-time tunes and they can start to all sound the same to an untrained ear, so breaking things up helps that issue. Audiences here respond the most to singing. Next to seriously toe tapping stuff. With our group, what we lack in musicianship we try to, shall I say, cover up with our vitality and sense of joy/fun for what we are doing. It works for us. Thanks to all... linda On Mar 16, 10:03 am, mistertaterbug taterbugmu...@gmail.com wrote: John, I've courted Ronnie Mc for the last two years. No dice. He's busy(or in this year's instance, *might* be...). Skaggs flat out said he was too busy. Sam and Grisman would be good, but they command a high price and are really doing other things. There is quite a large percentage of people who come to the camp that are staunch Monroe fanatics that really have little tolerance for much foolishness, as I'm sure you're aware of by now. I've already approached Terry about a jam class. Some of your other topics have been run through the mill to good use, some passed over, some seem very hard to present, but I do understand what you're getting at with them all. One thing that Jody suggested last year was to maybe use one class period to teach one song such as one of the more lengthy and elaborate tunes like Tanyards or Land of Lincoln, explain the moves and make sure everyone understands what's going on. I agree with that one. Theory talk is over my head and I really don't think that a lot of the public gets it anyway. Keep 'em coming. TBugger On Mar 9, 9:11 pm, taurodont jgardin...@roadrunner.com wrote: I have been to all of the previous camps. I think it is time to court Ronnie McCoury for one of these. Or Sam? That said I thought last years line up was fantastic. The wonderful tenor vocalists really made the faculty concert special. A few topics to consider: 1. Closed position playing and techniques Monroe used and repeated. 2. A whole class on the break to Columbus Stockade Blues 3. Double stops- can you ever really have enough? 4. Blue Moon of Ky. in 3 keys 5. Rhythm patterns- the whole class plays the same chord or double stop but has to learn a variety of different,
Re: Monroe Camp 2010
Having David McLaughlin on staff for the camp is awesome... for many reasons! B On Feb 26, 9:54 pm, mistertaterbug taterbugmu...@gmail.com wrote: Howdy howdy howdy. The annual Bill Monroe Mandolin Camp is coming up in September. We're in the planning stages right now, recruiting, working on the teacher roster, curriculum, events, etc. I think this year we'll not dictate so much what is taught, but ask for electives from the teachers. Still, I'm curious what comes to mind as valid subject matter at a Monroe camp. Of course, there's tunes, how to play tunes and songs, hand usage, some Monroe theory, historic landmark solos, rhythm, tremolo, downstrokes, so on and so forth. What else? Seems to me that Bil's singing style is a valid topic as well. Plus, the overall band sound, the sho' nuff' bluegrass band sound. Historically speaking, of course. The old sound. What made it what it was? I suppose a course in bus mechanics would be useful too, but that would take more than one weekend. Anyway, I'd like to hear some thoughts from you buggers whether you've gone to the camp or not. ...and I'm a'thankin' yah... taterbug -- You received this message because you are subscribed to the Google Groups Taterbugmando group. To post to this group, send email to taterbugma...@googlegroups.com. To unsubscribe from this group, send email to taterbugmando+unsubscr...@googlegroups.com. For more options, visit this group at http://groups.google.com/group/taterbugmando?hl=en.
Re: Monroe Camp 2010
Thanks for your comments, Erik. Feasibility is overrated. Tbug On Mar 6, 1:03 am, erik berry eberr...@gmail.com wrote: I've been ruminating about this one. I've never really perused the agendas for Monroe Camp before, but I am curious about them, so I guess I'll just sort of ramble on about what I'd like or expect in a multi-day workshop about Bill Monroe primarily targeted at mandolinists with some name faculty. I've always wanted to go to something like this but there's always something in the way. Some of this stuff I'm sure has been covered, but I'm just sort of brainstorming for my own amusement and if there's one or two ideas here worth something, all right. They are in no particular order and they are given without regard to feasibility. leading or carrying the band with a mando interacting with a fiddle playing and deconstructing the melody accompanying soloists (like to see some hot fiddle and banjo faculty here) playing and singing/accompanying another singer singing lead and tenor playing dance music (uh, old-time country dance music) playing with a mic country blues--history, theory, some jamming, a guitar based class for mandolinists scotch-irish music--history, theory, some jamming, a fiddle based class for mandolinists western swing--see above The style today--Compton on EC and the Sugarcanes And tho I don't think WSM ever did it, I'd like to see a mainenance class, including how to do your own set ups and fret dressings And I guess I'd expect to have to know some particular tunes before I got there, just so we all could talk about common ground. I don't know what they'd be, but I think MP3s and .pdfs of notes/tabs on a websidte accessable to students before the workshop would be awesome, so everybody knows what roanoke is and sort of how to play it, for example. here's some stuff where the mando stays in its case bagpipe concert old time dance w/lessons (preferably night before the class on playing hornpipes, breakdowns, schoettishes, etc) country blues show Monroe storytime, hosted by Bluegrass Boys and friends. History of Rosine, KY; southern migration north and subsequent economic developments; history of Nashville music scene A Stetson vedor! Country cooking primer And this one's just for me--balancing your mandolin and your chickens, or the value of hard work on the land. Well this was fun. Won't see you in Sept. I expect but I'll be interested in the reports. erik On Mar 5, 5:58 pm, Mando Chef saltydogli...@gmail.com wrote: right hand, right hand, right hand... this triplet stuff as in this video at about 3:20 Mike blazes down just before getting to the triplet line we all do in this tune...http://www.youtube.com/watch?v=Nl811xQI43c How to truly break a tune down by ear! when I attack a tune by ear I get a feel of the tune... I don't get the exact notes. Abosolutely the rhythm stuff... there is this video -http://vids.myspace.com/index.cfm?fuseaction=vids.individualvideoid=... to show Tater rhythm Adam -- You received this message because you are subscribed to the Google Groups Taterbugmando group. To post to this group, send email to taterbugma...@googlegroups.com. To unsubscribe from this group, send email to taterbugmando+unsubscr...@googlegroups.com. For more options, visit this group at http://groups.google.com/group/taterbugmando?hl=en.
RE: Monroe Camp 2010
Hold on!-We're strumin' and thinkin' too.Dangerous but truecamp will be here before you know it, and it will be great.RSB Date: Wed, 10 Mar 2010 23:14:27 -0800 Subject: Re: Monroe Camp 2010 From: mikebunt...@shaw.ca To: taterbugmando@googlegroups.com Taurodont's post is just loaded with great, well thought out suggestions and making me get antsy with anticipation for this years camp. -- You received this message because you are subscribed to the Google Groups Taterbugmando group. To post to this group, send email to taterbugma...@googlegroups.com. To unsubscribe from this group, send email to taterbugmando+unsubscr...@googlegroups.com. For more options, visit this group at http://groups.google.com/group/taterbugmando?hl=en. -- You received this message because you are subscribed to the Google Groups Taterbugmando group. To post to this group, send email to taterbugma...@googlegroups.com. To unsubscribe from this group, send email to taterbugmando+unsubscr...@googlegroups.com. For more options, visit this group at http://groups.google.com/group/taterbugmando?hl=en.
Re: Monroe Camp 2010
Taurodont's post is just loaded with great, well thought out suggestions and making me get antsy with anticipation for this years camp. -- You received this message because you are subscribed to the Google Groups Taterbugmando group. To post to this group, send email to taterbugma...@googlegroups.com. To unsubscribe from this group, send email to taterbugmando+unsubscr...@googlegroups.com. For more options, visit this group at http://groups.google.com/group/taterbugmando?hl=en.
Re: Monroe Camp 2010
I still think another good topic for discussion would be taking a tune monroe didn't typically play and have the class try to individually create their own monroe influenced solo for the song. I think this could lead to some good discussion if everyone played their solo's and kind of compared what parts of the melody the skipped or tried to bring out. I think it'd be interesting at least, I think you'd get quite of bit of variation between the solos and everyone could kind of steal the best things from each persons solos and the class could then come to some sort of consensus on the final break. This for me is something I need help on anyways. It's sometimes hard to transfer the knowledge to a new tune and make it work in the style that we all love. Any help on this would be appreciated. Mike -- You received this message because you are subscribed to the Google Groups Taterbugmando group. To post to this group, send email to taterbugma...@googlegroups.com. To unsubscribe from this group, send email to taterbugmando+unsubscr...@googlegroups.com. For more options, visit this group at http://groups.google.com/group/taterbugmando?hl=en.
Re: Monroe Camp 2010
Well there isn't any way possible for me to make it to Monroe Camp 2010 (hell, all the way up to 2015 or so realistically) but I would love to hear the answer to Don's question (especially for Hartford). Trey From: Don adobeinthepi...@gmail.com To: taterbugmando@googlegroups.com Sent: Sun, March 7, 2010 9:06:21 PM Subject: Re: Monroe Camp 2010 How about something about how Monroe ( Hartford) constructed their set lists? For example, where in the set list does the chicken song go? How were their set lists influenced by vaudeville? Actually you could just answer that one on here as it probably might not take up a whole class session. -- My CD of original tunes played on mandolin, mandola, and mandocello http://www.HillbillyChamberMusic.com -- You received this message because you are subscribed to the Google Groups Taterbugmando group. To post to this group, send email to taterbugma...@googlegroups.com. To unsubscribe from this group, send email to taterbugmando+unsubscr...@googlegroups.com. For more options, visit this group at http://groups.google.com/group/taterbugmando?hl=en. -- You received this message because you are subscribed to the Google Groups Taterbugmando group. To post to this group, send email to taterbugma...@googlegroups.com. To unsubscribe from this group, send email to taterbugmando+unsubscr...@googlegroups.com. For more options, visit this group at http://groups.google.com/group/taterbugmando?hl=en.
Re: Monroe Camp 2010
I think Erik touched on this above (deconstructing melody?) The way in which Monroe (and also Compton) whittle down a fiddle tune to it's bare essentials is very interesting to me. For instance if a melody called for G F# G they might instead play three G notes in a row. Are these short cuts or are they intentional? This whittling down makes the tune more rhythmically powerful and is sort of the essence of the style. I think it also makes makes the tune much more presentable in a solo format. I suppose a detailed analysis could be made as to what scale tones were apt to be left out just like many folks try to teach how to embellish fiddle tune melodies. Were the edited notes based on convenience or are they based on tones or maybe both? I for one and amazed when Tater shows me a fiddle tune and it he has some very clever way of playing something and I always wonder now why didn't I think of that. Other course ideas..some veering away from Monroe Playing your mandolin solo (adding drones, chordal tones etc, foot taps.) Monroe - rare gems (Reelfoot Reel, Land of Lincoln, Chilly Winds) Monroe's Chop - compare his placement of 2 4 to other well known chops The idea of furnishing TAB pre-camp is a very good one. I think the Django camp folks do that. Perry -- You received this message because you are subscribed to the Google Groups Taterbugmando group. To post to this group, send email to taterbugma...@googlegroups.com. To unsubscribe from this group, send email to taterbugmando+unsubscr...@googlegroups.com. For more options, visit this group at http://groups.google.com/group/taterbugmando?hl=en.
Re: Monroe Camp 2010
How about something about how Monroe ( Hartford) constructed their set lists? For example, where in the set list does the chicken song go? How were their set lists influenced by vaudeville? Actually you could just answer that one on here as it probably might not take up a whole class session. -- My CD of original tunes played on mandolin, mandola, and mandocello http://www.HillbillyChamberMusic.com -- You received this message because you are subscribed to the Google Groups Taterbugmando group. To post to this group, send email to taterbugma...@googlegroups.com. To unsubscribe from this group, send email to taterbugmando+unsubscr...@googlegroups.com. For more options, visit this group at http://groups.google.com/group/taterbugmando?hl=en.
Re: Monroe Camp 2010
Something else that came to mind would be a class that takes a Monroe instrumental and traces its development through his changes in playing style. Find a tune that he carried for multiple decades and do a study on how it changed. M On Thu, Mar 4, 2010 at 8:14 PM, mistertaterbug taterbugmu...@gmail.comwrote: Izzat it? Nobody's even curious about anything? Boy, this is a quiet bunch...must be practicing... Tbug On Feb 28, 3:01 pm, Robin Gravina robin.grav...@gmail.com wrote: If I was able to be there, I'd like 2 hours on kick offs like 'old xroad is waiting'. How to get intensity without over-playing, timing of the tremolo, pick angle details, starting cold with full energy on... 2010/2/28, Mark Seale mark.se...@gmail.com: That's sort of where I was going with it Raymond. To me, Tater rhythm, is the rhythm beyond a bluegrass chop. It's sort of a melodic rhythm, based on various and creative chord voicings that ring and follow the lead. The stringband stuff from the Hartford days, or the rhythm on Tanyards (Stomp cd). That's what I've got in my ear. M On Sun, Feb 28, 2010 at 12:17 PM, Raymond Huffmaster raymondhuffmas...@gmail.com wrote: Howdy.. Glad to see y'all bringing rhythm into the thread... One thing more important to me than rhythm..that's making sure that said rhythm is in time.This allows the lead guy to really do what he can or cannot do... Now,as to your request for suggestions,Mikey...this same rhythm,especially to me,on the Mandolin...needs to be done in a way that produces tone from the Mandolin. A muted/damped,brushed rhythm on the Mandolin without tone lites nary fire under me...I want to hear the tone come out with the chop...after all...the Mandolin is just a tone chamber with a neck hooked to it...take advantage of that tone,use it to enhance the music. Love Monroes tone in his rhythm playing Loafer @msn.com wrote: spud, dud, dud, spud, pud, spud, dud you get my drift Dennis Fehling Friends for life dog training 541-350-2869 www.friendsforlifedogtraining.com When will the madness stop. Spay and Neuter your pets EMAILING FOR THE GREATER GOOD Join me Date: Sun, 28 Feb 2010 07:54:29 -0800 Subject: Re: Monroe Camp 2010 From: taterbugmu...@gmail.com To: taterbugmando@googlegroups.com What is tater rhythm anyway? TBug On Feb 27, 11:15 am, Don adobeinthepi...@gmail.com wrote: I second the Tater rhythm course of study. -- You received this message because you are subscribed to the Google Groups Taterbugmando group. To post to this group, send email to taterbugma...@googlegroups.com. To unsubscribe from this group, send email to taterbugmando+unsubscr...@googlegroups.comtaterbugmando%2bunsubscr...@googlegroups.com taterbugmando%2bunsubscr...@googlegroups.comtaterbugmando%252bunsubscr...@googlegroups.com . For more options, visit this group athttp:// groups.google.com/group/taterbugmando?hl=en. -- You received this message because you are subscribed to the Google Groups Taterbugmando group. To post to this group, send email to taterbugma...@googlegroups.com. To unsubscribe from this group, send email to taterbugmando+unsubscr...@googlegroups.comtaterbugmando%2bunsubscr...@googlegroups.com taterbugmando%2bunsubscr...@googlegroups.comtaterbugmando%252bunsubscr...@googlegroups.com . For more options, visit this group at http://groups.google.com/group/taterbugmando?hl=en. -- You received this message because you are subscribed to the Google Groups Taterbugmando group. To post to this group, send email to taterbugma...@googlegroups.com. To unsubscribe from this group, send email to taterbugmando+unsubscr...@googlegroups.comtaterbugmando%2bunsubscr...@googlegroups.com . For more options, visit this group at http://groups.google.com/group/taterbugmando?hl=en. -- Enviado desde mi dispositivo móvil -- You received this message because you are subscribed to the Google Groups Taterbugmando group. To post to this group, send email to taterbugma...@googlegroups.com. To unsubscribe from this group, send email to taterbugmando+unsubscr...@googlegroups.comtaterbugmando%2bunsubscr...@googlegroups.com . For more options, visit this group at http://groups.google.com/group/taterbugmando?hl=en. -- You received this message because you are subscribed to the Google Groups Taterbugmando group. To post to this group, send email to taterbugma...@googlegroups.com. To unsubscribe from this group, send email to taterbugmando+unsubscr...@googlegroups.com. For more options, visit this group at http://groups.google.com/group/taterbugmando?hl=en.
Re: Monroe Camp 2010
I am dreaming, as there is no way that I can be there, but would love to have Mr. Statman show ways of taking Monroe tunes into inner/outer space. On Fri, Mar 5, 2010 at 4:21 PM, Mark Seale mark.se...@gmail.com wrote: Something else that came to mind would be a class that takes a Monroe instrumental and traces its development through his changes in playing style. Find a tune that he carried for multiple decades and do a study on how it changed. M On Thu, Mar 4, 2010 at 8:14 PM, mistertaterbug taterbugmu...@gmail.comwrote: Izzat it? Nobody's even curious about anything? Boy, this is a quiet bunch...must be practicing... Tbug On Feb 28, 3:01 pm, Robin Gravina robin.grav...@gmail.com wrote: If I was able to be there, I'd like 2 hours on kick offs like 'old xroad is waiting'. How to get intensity without over-playing, timing of the tremolo, pick angle details, starting cold with full energy on... 2010/2/28, Mark Seale mark.se...@gmail.com: That's sort of where I was going with it Raymond. To me, Tater rhythm, is the rhythm beyond a bluegrass chop. It's sort of a melodic rhythm, based on various and creative chord voicings that ring and follow the lead. The stringband stuff from the Hartford days, or the rhythm on Tanyards (Stomp cd). That's what I've got in my ear. M On Sun, Feb 28, 2010 at 12:17 PM, Raymond Huffmaster raymondhuffmas...@gmail.com wrote: Howdy.. Glad to see y'all bringing rhythm into the thread... One thing more important to me than rhythm..that's making sure that said rhythm is in time.This allows the lead guy to really do what he can or cannot do... Now,as to your request for suggestions,Mikey...this same rhythm,especially to me,on the Mandolin...needs to be done in a way that produces tone from the Mandolin. A muted/damped,brushed rhythm on the Mandolin without tone lites nary fire under me...I want to hear the tone come out with the chop...after all...the Mandolin is just a tone chamber with a neck hooked to it...take advantage of that tone,use it to enhance the music. Love Monroes tone in his rhythm playing Loafer @msn.com wrote: spud, dud, dud, spud, pud, spud, dud you get my drift Dennis Fehling Friends for life dog training 541-350-2869 www.friendsforlifedogtraining.com When will the madness stop. Spay and Neuter your pets EMAILING FOR THE GREATER GOOD Join me Date: Sun, 28 Feb 2010 07:54:29 -0800 Subject: Re: Monroe Camp 2010 From: taterbugmu...@gmail.com To: taterbugmando@googlegroups.com What is tater rhythm anyway? TBug On Feb 27, 11:15 am, Don adobeinthepi...@gmail.com wrote: I second the Tater rhythm course of study. -- You received this message because you are subscribed to the Google Groups Taterbugmando group. To post to this group, send email to taterbugma...@googlegroups.com. To unsubscribe from this group, send email to taterbugmando+unsubscr...@googlegroups.comtaterbugmando%2bunsubscr...@googlegroups.com taterbugmando%2bunsubscr...@googlegroups.comtaterbugmando%252bunsubscr...@googlegroups.com . For more options, visit this group athttp:// groups.google.com/group/taterbugmando?hl=en. -- You received this message because you are subscribed to the Google Groups Taterbugmando group. To post to this group, send email to taterbugma...@googlegroups.com. To unsubscribe from this group, send email to taterbugmando+unsubscr...@googlegroups.comtaterbugmando%2bunsubscr...@googlegroups.com taterbugmando%2bunsubscr...@googlegroups.comtaterbugmando%252bunsubscr...@googlegroups.com . For more options, visit this group at http://groups.google.com/group/taterbugmando?hl=en. -- You received this message because you are subscribed to the Google Groups Taterbugmando group. To post to this group, send email to taterbugma...@googlegroups.com. To unsubscribe from this group, send email to taterbugmando+unsubscr...@googlegroups.comtaterbugmando%2bunsubscr...@googlegroups.com . For more options, visit this group at http://groups.google.com/group/taterbugmando?hl=en. -- Enviado desde mi dispositivo móvil -- You received this message because you are subscribed to the Google Groups Taterbugmando group. To post to this group, send email to taterbugma...@googlegroups.com. To unsubscribe from this group, send email to taterbugmando+unsubscr...@googlegroups.comtaterbugmando%2bunsubscr...@googlegroups.com . For more options, visit this group at http://groups.google.com/group/taterbugmando?hl=en. -- You received this message because you are subscribed to the Google Groups Taterbugmando group. To post to this group, send email to taterbugma...@googlegroups.com. To unsubscribe from this group, send email to taterbugmando+unsubscr
Re: Monroe Camp 2010
right hand, right hand, right hand... this triplet stuff as in this video at about 3:20 Mike blazes down just before getting to the triplet line we all do in this tune... http://www.youtube.com/watch?v=Nl811xQI43c How to truly break a tune down by ear! when I attack a tune by ear I get a feel of the tune... I don't get the exact notes. Abosolutely the rhythm stuff... there is this video - http://vids.myspace.com/index.cfm?fuseaction=vids.individualvideoid=20035666searchid=7cc8154f-e874-4c04-939b-64f0279d0b68 to show Tater rhythm Adam -- You received this message because you are subscribed to the Google Groups Taterbugmando group. To post to this group, send email to taterbugma...@googlegroups.com. To unsubscribe from this group, send email to taterbugmando+unsubscr...@googlegroups.com. For more options, visit this group at http://groups.google.com/group/taterbugmando?hl=en.
Re: Monroe Camp 2010
I've been ruminating about this one. I've never really perused the agendas for Monroe Camp before, but I am curious about them, so I guess I'll just sort of ramble on about what I'd like or expect in a multi-day workshop about Bill Monroe primarily targeted at mandolinists with some name faculty. I've always wanted to go to something like this but there's always something in the way. Some of this stuff I'm sure has been covered, but I'm just sort of brainstorming for my own amusement and if there's one or two ideas here worth something, all right. They are in no particular order and they are given without regard to feasibility. leading or carrying the band with a mando interacting with a fiddle playing and deconstructing the melody accompanying soloists (like to see some hot fiddle and banjo faculty here) playing and singing/accompanying another singer singing lead and tenor playing dance music (uh, old-time country dance music) playing with a mic country blues--history, theory, some jamming, a guitar based class for mandolinists scotch-irish music--history, theory, some jamming, a fiddle based class for mandolinists western swing--see above The style today--Compton on EC and the Sugarcanes And tho I don't think WSM ever did it, I'd like to see a mainenance class, including how to do your own set ups and fret dressings And I guess I'd expect to have to know some particular tunes before I got there, just so we all could talk about common ground. I don't know what they'd be, but I think MP3s and .pdfs of notes/tabs on a websidte accessable to students before the workshop would be awesome, so everybody knows what roanoke is and sort of how to play it, for example. here's some stuff where the mando stays in its case bagpipe concert old time dance w/lessons (preferably night before the class on playing hornpipes, breakdowns, schoettishes, etc) country blues show Monroe storytime, hosted by Bluegrass Boys and friends. History of Rosine, KY; southern migration north and subsequent economic developments; history of Nashville music scene A Stetson vedor! Country cooking primer And this one's just for me--balancing your mandolin and your chickens, or the value of hard work on the land. Well this was fun. Won't see you in Sept. I expect but I'll be interested in the reports. erik On Mar 5, 5:58 pm, Mando Chef saltydogli...@gmail.com wrote: right hand, right hand, right hand... this triplet stuff as in this video at about 3:20 Mike blazes down just before getting to the triplet line we all do in this tune...http://www.youtube.com/watch?v=Nl811xQI43c How to truly break a tune down by ear! when I attack a tune by ear I get a feel of the tune... I don't get the exact notes. Abosolutely the rhythm stuff... there is this video -http://vids.myspace.com/index.cfm?fuseaction=vids.individualvideoid=... to show Tater rhythm Adam -- You received this message because you are subscribed to the Google Groups Taterbugmando group. To post to this group, send email to taterbugma...@googlegroups.com. To unsubscribe from this group, send email to taterbugmando+unsubscr...@googlegroups.com. For more options, visit this group at http://groups.google.com/group/taterbugmando?hl=en.
Re: Monroe Camp 2010
Izzat it? Nobody's even curious about anything? Boy, this is a quiet bunch...must be practicing... Tbug On Feb 28, 3:01 pm, Robin Gravina robin.grav...@gmail.com wrote: If I was able to be there, I'd like 2 hours on kick offs like 'old xroad is waiting'. How to get intensity without over-playing, timing of the tremolo, pick angle details, starting cold with full energy on... 2010/2/28, Mark Seale mark.se...@gmail.com: That's sort of where I was going with it Raymond. To me, Tater rhythm, is the rhythm beyond a bluegrass chop. It's sort of a melodic rhythm, based on various and creative chord voicings that ring and follow the lead. The stringband stuff from the Hartford days, or the rhythm on Tanyards (Stomp cd). That's what I've got in my ear. M On Sun, Feb 28, 2010 at 12:17 PM, Raymond Huffmaster raymondhuffmas...@gmail.com wrote: Howdy.. Glad to see y'all bringing rhythm into the thread... One thing more important to me than rhythm..that's making sure that said rhythm is in time.This allows the lead guy to really do what he can or cannot do... Now,as to your request for suggestions,Mikey...this same rhythm,especially to me,on the Mandolin...needs to be done in a way that produces tone from the Mandolin. A muted/damped,brushed rhythm on the Mandolin without tone lites nary fire under me...I want to hear the tone come out with the chop...after all...the Mandolin is just a tone chamber with a neck hooked to it...take advantage of that tone,use it to enhance the music. Love Monroes tone in his rhythm playing Loafer @msn.com wrote: spud, dud, dud, spud, pud, spud, dud you get my drift Dennis Fehling Friends for life dog training 541-350-2869 www.friendsforlifedogtraining.com When will the madness stop. Spay and Neuter your pets EMAILING FOR THE GREATER GOOD Join me Date: Sun, 28 Feb 2010 07:54:29 -0800 Subject: Re: Monroe Camp 2010 From: taterbugmu...@gmail.com To: taterbugmando@googlegroups.com What is tater rhythm anyway? TBug On Feb 27, 11:15 am, Don adobeinthepi...@gmail.com wrote: I second the Tater rhythm course of study. -- You received this message because you are subscribed to the Google Groups Taterbugmando group. To post to this group, send email to taterbugma...@googlegroups.com. To unsubscribe from this group, send email to taterbugmando+unsubscr...@googlegroups.comtaterbugmando%2bunsubscr...@googlegroups.com . For more options, visit this group athttp:// groups.google.com/group/taterbugmando?hl=en. -- You received this message because you are subscribed to the Google Groups Taterbugmando group. To post to this group, send email to taterbugma...@googlegroups.com. To unsubscribe from this group, send email to taterbugmando+unsubscr...@googlegroups.comtaterbugmando%2bunsubscr...@googlegroups.com . For more options, visit this group at http://groups.google.com/group/taterbugmando?hl=en. -- You received this message because you are subscribed to the Google Groups Taterbugmando group. To post to this group, send email to taterbugma...@googlegroups.com. To unsubscribe from this group, send email to taterbugmando+unsubscr...@googlegroups.com. For more options, visit this group at http://groups.google.com/group/taterbugmando?hl=en. -- Enviado desde mi dispositivo móvil -- You received this message because you are subscribed to the Google Groups Taterbugmando group. To post to this group, send email to taterbugma...@googlegroups.com. To unsubscribe from this group, send email to taterbugmando+unsubscr...@googlegroups.com. For more options, visit this group at http://groups.google.com/group/taterbugmando?hl=en.
Re: Monroe Camp 2010
Just wishing I had more time to play my mandolin, Spud man. I have been able to get completely hooked on Waylon Jennings' album Honky Tonk Heros during my increased time in the car lately. Dng. See you at camp sometime! -- You received this message because you are subscribed to the Google Groups Taterbugmando group. To post to this group, send email to taterbugma...@googlegroups.com. To unsubscribe from this group, send email to taterbugmando+unsubscr...@googlegroups.com. For more options, visit this group at http://groups.google.com/group/taterbugmando?hl=en.
Re: Monroe Camp 2010
What is tater rhythm anyway? TBug On Feb 27, 11:15 am, Don adobeinthepi...@gmail.com wrote: I second the Tater rhythm course of study. -- You received this message because you are subscribed to the Google Groups Taterbugmando group. To post to this group, send email to taterbugma...@googlegroups.com. To unsubscribe from this group, send email to taterbugmando+unsubscr...@googlegroups.com. For more options, visit this group at http://groups.google.com/group/taterbugmando?hl=en.
RE: Monroe Camp 2010
spud, dud, dud, spud, pud, spud, dud you get my drift Dennis Fehling Friends for life dog training 541-350-2869 www.friendsforlifedogtraining.com When will the madness stop. Spay and Neuter your pets EMAILING FOR THE GREATER GOOD Join me Date: Sun, 28 Feb 2010 07:54:29 -0800 Subject: Re: Monroe Camp 2010 From: taterbugmu...@gmail.com To: taterbugmando@googlegroups.com What is tater rhythm anyway? TBug On Feb 27, 11:15 am, Don adobeinthepi...@gmail.com wrote: I second the Tater rhythm course of study. -- You received this message because you are subscribed to the Google Groups Taterbugmando group. To post to this group, send email to taterbugma...@googlegroups.com. To unsubscribe from this group, send email to taterbugmando+unsubscr...@googlegroups.com. For more options, visit this group at http://groups.google.com/group/taterbugmando?hl=en. -- You received this message because you are subscribed to the Google Groups Taterbugmando group. To post to this group, send email to taterbugma...@googlegroups.com. To unsubscribe from this group, send email to taterbugmando+unsubscr...@googlegroups.com. For more options, visit this group at http://groups.google.com/group/taterbugmando?hl=en.
Re: Monroe Camp 2010
Howdy.. Glad to see y'all bringing rhythm into the thread... One thing more important to me than rhythm..that's making sure that said rhythm is in time.This allows the lead guy to really do what he can or cannot do... Now,as to your request for suggestions,Mikey...this same rhythm,especially to me,on the Mandolin...needs to be done in a way that produces tone from the Mandolin. A muted/damped,brushed rhythm on the Mandolin without tone lites nary fire under me...I want to hear the tone come out with the chop...after all...the Mandolin is just a tone chamber with a neck hooked to it...take advantage of that tone,use it to enhance the music. Love Monroes tone in his rhythm playing Loafer @msn.com wrote: spud, dud, dud, spud, pud, spud, dud you get my drift Dennis Fehling Friends for life dog training 541-350-2869 www.friendsforlifedogtraining.com When will the madness stop. Spay and Neuter your pets EMAILING FOR THE GREATER GOOD Join me Date: Sun, 28 Feb 2010 07:54:29 -0800 Subject: Re: Monroe Camp 2010 From: taterbugmu...@gmail.com To: taterbugmando@googlegroups.com What is tater rhythm anyway? TBug On Feb 27, 11:15 am, Don adobeinthepi...@gmail.com wrote: I second the Tater rhythm course of study. -- You received this message because you are subscribed to the Google Groups Taterbugmando group. To post to this group, send email to taterbugma...@googlegroups.com. To unsubscribe from this group, send email to taterbugmando+unsubscr...@googlegroups.com. For more options, visit this group athttp://groups.google.com/group/taterbugmando?hl=en. -- You received this message because you are subscribed to the Google Groups Taterbugmando group. To post to this group, send email to taterbugma...@googlegroups.com. To unsubscribe from this group, send email to taterbugmando+unsubscr...@googlegroups.com. For more options, visit this group at http://groups.google.com/group/taterbugmando?hl=en.
Re: Monroe Camp 2010
That's sort of where I was going with it Raymond. To me, Tater rhythm, is the rhythm beyond a bluegrass chop. It's sort of a melodic rhythm, based on various and creative chord voicings that ring and follow the lead. The stringband stuff from the Hartford days, or the rhythm on Tanyards (Stomp cd). That's what I've got in my ear. M On Sun, Feb 28, 2010 at 12:17 PM, Raymond Huffmaster raymondhuffmas...@gmail.com wrote: Howdy.. Glad to see y'all bringing rhythm into the thread... One thing more important to me than rhythm..that's making sure that said rhythm is in time.This allows the lead guy to really do what he can or cannot do... Now,as to your request for suggestions,Mikey...this same rhythm,especially to me,on the Mandolin...needs to be done in a way that produces tone from the Mandolin. A muted/damped,brushed rhythm on the Mandolin without tone lites nary fire under me...I want to hear the tone come out with the chop...after all...the Mandolin is just a tone chamber with a neck hooked to it...take advantage of that tone,use it to enhance the music. Love Monroes tone in his rhythm playing Loafer @msn.com wrote: spud, dud, dud, spud, pud, spud, dud you get my drift Dennis Fehling Friends for life dog training 541-350-2869 www.friendsforlifedogtraining.com When will the madness stop. Spay and Neuter your pets EMAILING FOR THE GREATER GOOD Join me Date: Sun, 28 Feb 2010 07:54:29 -0800 Subject: Re: Monroe Camp 2010 From: taterbugmu...@gmail.com To: taterbugmando@googlegroups.com What is tater rhythm anyway? TBug On Feb 27, 11:15 am, Don adobeinthepi...@gmail.com wrote: I second the Tater rhythm course of study. -- You received this message because you are subscribed to the Google Groups Taterbugmando group. To post to this group, send email to taterbugma...@googlegroups.com. To unsubscribe from this group, send email to taterbugmando+unsubscr...@googlegroups.comtaterbugmando%2bunsubscr...@googlegroups.com . For more options, visit this group athttp:// groups.google.com/group/taterbugmando?hl=en. -- You received this message because you are subscribed to the Google Groups Taterbugmando group. To post to this group, send email to taterbugma...@googlegroups.com. To unsubscribe from this group, send email to taterbugmando+unsubscr...@googlegroups.comtaterbugmando%2bunsubscr...@googlegroups.com . For more options, visit this group at http://groups.google.com/group/taterbugmando?hl=en. -- You received this message because you are subscribed to the Google Groups Taterbugmando group. To post to this group, send email to taterbugma...@googlegroups.com. To unsubscribe from this group, send email to taterbugmando+unsubscr...@googlegroups.com. For more options, visit this group at http://groups.google.com/group/taterbugmando?hl=en.
Re: Monroe Camp 2010
If I was able to be there, I'd like 2 hours on kick offs like 'old xroad is waiting'. How to get intensity without over-playing, timing of the tremolo, pick angle details, starting cold with full energy on... 2010/2/28, Mark Seale mark.se...@gmail.com: That's sort of where I was going with it Raymond. To me, Tater rhythm, is the rhythm beyond a bluegrass chop. It's sort of a melodic rhythm, based on various and creative chord voicings that ring and follow the lead. The stringband stuff from the Hartford days, or the rhythm on Tanyards (Stomp cd). That's what I've got in my ear. M On Sun, Feb 28, 2010 at 12:17 PM, Raymond Huffmaster raymondhuffmas...@gmail.com wrote: Howdy.. Glad to see y'all bringing rhythm into the thread... One thing more important to me than rhythm..that's making sure that said rhythm is in time.This allows the lead guy to really do what he can or cannot do... Now,as to your request for suggestions,Mikey...this same rhythm,especially to me,on the Mandolin...needs to be done in a way that produces tone from the Mandolin. A muted/damped,brushed rhythm on the Mandolin without tone lites nary fire under me...I want to hear the tone come out with the chop...after all...the Mandolin is just a tone chamber with a neck hooked to it...take advantage of that tone,use it to enhance the music. Love Monroes tone in his rhythm playing Loafer @msn.com wrote: spud, dud, dud, spud, pud, spud, dud you get my drift Dennis Fehling Friends for life dog training 541-350-2869 www.friendsforlifedogtraining.com When will the madness stop. Spay and Neuter your pets EMAILING FOR THE GREATER GOOD Join me Date: Sun, 28 Feb 2010 07:54:29 -0800 Subject: Re: Monroe Camp 2010 From: taterbugmu...@gmail.com To: taterbugmando@googlegroups.com What is tater rhythm anyway? TBug On Feb 27, 11:15 am, Don adobeinthepi...@gmail.com wrote: I second the Tater rhythm course of study. -- You received this message because you are subscribed to the Google Groups Taterbugmando group. To post to this group, send email to taterbugma...@googlegroups.com. To unsubscribe from this group, send email to taterbugmando+unsubscr...@googlegroups.comtaterbugmando%2bunsubscr...@googlegroups.com . For more options, visit this group athttp:// groups.google.com/group/taterbugmando?hl=en. -- You received this message because you are subscribed to the Google Groups Taterbugmando group. To post to this group, send email to taterbugma...@googlegroups.com. To unsubscribe from this group, send email to taterbugmando+unsubscr...@googlegroups.comtaterbugmando%2bunsubscr...@googlegroups.com . For more options, visit this group at http://groups.google.com/group/taterbugmando?hl=en. -- You received this message because you are subscribed to the Google Groups Taterbugmando group. To post to this group, send email to taterbugma...@googlegroups.com. To unsubscribe from this group, send email to taterbugmando+unsubscr...@googlegroups.com. For more options, visit this group at http://groups.google.com/group/taterbugmando?hl=en. -- Enviado desde mi dispositivo móvil -- You received this message because you are subscribed to the Google Groups Taterbugmando group. To post to this group, send email to taterbugma...@googlegroups.com. To unsubscribe from this group, send email to taterbugmando+unsubscr...@googlegroups.com. For more options, visit this group at http://groups.google.com/group/taterbugmando?hl=en.
Re: Monroe Camp 2010
i would like some training on carrying the whole band on my shoulders... On Fri, Feb 26, 2010 at 9:27 PM, Mark Seale mark.se...@gmail.com wrote: How about a course on Tater rhythm? On Fri, Feb 26, 2010 at 8:54 PM, mistertaterbug taterbugmu...@gmail.comwrote: Howdy howdy howdy. The annual Bill Monroe Mandolin Camp is coming up in September. We're in the planning stages right now, recruiting, working on the teacher roster, curriculum, events, etc. I think this year we'll not dictate so much what is taught, but ask for electives from the teachers. Still, I'm curious what comes to mind as valid subject matter at a Monroe camp. Of course, there's tunes, how to play tunes and songs, hand usage, some Monroe theory, historic landmark solos, rhythm, tremolo, downstrokes, so on and so forth. What else? Seems to me that Bil's singing style is a valid topic as well. Plus, the overall band sound, the sho' nuff' bluegrass band sound. Historically speaking, of course. The old sound. What made it what it was? I suppose a course in bus mechanics would be useful too, but that would take more than one weekend. Anyway, I'd like to hear some thoughts from you buggers whether you've gone to the camp or not. ...and I'm a'thankin' yah... taterbug -- You received this message because you are subscribed to the Google Groups Taterbugmando group. To post to this group, send email to taterbugma...@googlegroups.com. To unsubscribe from this group, send email to taterbugmando+unsubscr...@googlegroups.comtaterbugmando%2bunsubscr...@googlegroups.com . For more options, visit this group at http://groups.google.com/group/taterbugmando?hl=en. -- You received this message because you are subscribed to the Google Groups Taterbugmando group. To post to this group, send email to taterbugma...@googlegroups.com. To unsubscribe from this group, send email to taterbugmando+unsubscr...@googlegroups.comtaterbugmando%2bunsubscr...@googlegroups.com . For more options, visit this group at http://groups.google.com/group/taterbugmando?hl=en. -- You received this message because you are subscribed to the Google Groups Taterbugmando group. To post to this group, send email to taterbugma...@googlegroups.com. To unsubscribe from this group, send email to taterbugmando+unsubscr...@googlegroups.com. For more options, visit this group at http://groups.google.com/group/taterbugmando?hl=en.
Re: Monroe Camp 2010
Eat your taters... TB On Feb 27, 10:50 am, Jonathan Trawick fiddlinarkan...@gmail.com wrote: i would like some training on carrying the whole band on my shoulders... On Fri, Feb 26, 2010 at 9:27 PM, Mark Seale mark.se...@gmail.com wrote: How about a course on Tater rhythm? On Fri, Feb 26, 2010 at 8:54 PM, mistertaterbug taterbugmu...@gmail.comwrote: Howdy howdy howdy. The annual Bill Monroe Mandolin Camp is coming up in September. We're in the planning stages right now, recruiting, working on the teacher roster, curriculum, events, etc. I think this year we'll not dictate so much what is taught, but ask for electives from the teachers. Still, I'm curious what comes to mind as valid subject matter at a Monroe camp. Of course, there's tunes, how to play tunes and songs, hand usage, some Monroe theory, historic landmark solos, rhythm, tremolo, downstrokes, so on and so forth. What else? Seems to me that Bil's singing style is a valid topic as well. Plus, the overall band sound, the sho' nuff' bluegrass band sound. Historically speaking, of course. The old sound. What made it what it was? I suppose a course in bus mechanics would be useful too, but that would take more than one weekend. Anyway, I'd like to hear some thoughts from you buggers whether you've gone to the camp or not. ...and I'm a'thankin' yah... taterbug -- You received this message because you are subscribed to the Google Groups Taterbugmando group. To post to this group, send email to taterbugma...@googlegroups.com. To unsubscribe from this group, send email to taterbugmando+unsubscr...@googlegroups.comtaterbugmando%2bunsubscr...@googlegroups.com . For more options, visit this group at http://groups.google.com/group/taterbugmando?hl=en. -- You received this message because you are subscribed to the Google Groups Taterbugmando group. To post to this group, send email to taterbugma...@googlegroups.com. To unsubscribe from this group, send email to taterbugmando+unsubscr...@googlegroups.comtaterbugmando%2bunsubscr...@googlegroups.com . For more options, visit this group at http://groups.google.com/group/taterbugmando?hl=en. -- You received this message because you are subscribed to the Google Groups Taterbugmando group. To post to this group, send email to taterbugma...@googlegroups.com. To unsubscribe from this group, send email to taterbugmando+unsubscr...@googlegroups.com. For more options, visit this group at http://groups.google.com/group/taterbugmando?hl=en.
Re: Monroe Camp 2010
what kind of taters did monroe typically consume? On Sat, Feb 27, 2010 at 10:52 AM, mistertaterbug taterbugmu...@gmail.comwrote: Eat your taters... TB On Feb 27, 10:50 am, Jonathan Trawick fiddlinarkan...@gmail.com wrote: i would like some training on carrying the whole band on my shoulders... On Fri, Feb 26, 2010 at 9:27 PM, Mark Seale mark.se...@gmail.com wrote: How about a course on Tater rhythm? On Fri, Feb 26, 2010 at 8:54 PM, mistertaterbug taterbugmu...@gmail.comwrote: Howdy howdy howdy. The annual Bill Monroe Mandolin Camp is coming up in September. We're in the planning stages right now, recruiting, working on the teacher roster, curriculum, events, etc. I think this year we'll not dictate so much what is taught, but ask for electives from the teachers. Still, I'm curious what comes to mind as valid subject matter at a Monroe camp. Of course, there's tunes, how to play tunes and songs, hand usage, some Monroe theory, historic landmark solos, rhythm, tremolo, downstrokes, so on and so forth. What else? Seems to me that Bil's singing style is a valid topic as well. Plus, the overall band sound, the sho' nuff' bluegrass band sound. Historically speaking, of course. The old sound. What made it what it was? I suppose a course in bus mechanics would be useful too, but that would take more than one weekend. Anyway, I'd like to hear some thoughts from you buggers whether you've gone to the camp or not. ...and I'm a'thankin' yah... taterbug -- You received this message because you are subscribed to the Google Groups Taterbugmando group. To post to this group, send email to taterbugma...@googlegroups.com. To unsubscribe from this group, send email to taterbugmando+unsubscr...@googlegroups.comtaterbugmando%2bunsubscr...@googlegroups.com taterbugmando%2bunsubscr...@googlegroups.comtaterbugmando%252bunsubscr...@googlegroups.com . For more options, visit this group at http://groups.google.com/group/taterbugmando?hl=en. -- You received this message because you are subscribed to the Google Groups Taterbugmando group. To post to this group, send email to taterbugma...@googlegroups.com. To unsubscribe from this group, send email to taterbugmando+unsubscr...@googlegroups.comtaterbugmando%2bunsubscr...@googlegroups.com taterbugmando%2bunsubscr...@googlegroups.comtaterbugmando%252bunsubscr...@googlegroups.com . For more options, visit this group at http://groups.google.com/group/taterbugmando?hl=en. -- You received this message because you are subscribed to the Google Groups Taterbugmando group. To post to this group, send email to taterbugma...@googlegroups.com. To unsubscribe from this group, send email to taterbugmando+unsubscr...@googlegroups.comtaterbugmando%2bunsubscr...@googlegroups.com . For more options, visit this group at http://groups.google.com/group/taterbugmando?hl=en. -- You received this message because you are subscribed to the Google Groups Taterbugmando group. To post to this group, send email to taterbugma...@googlegroups.com. To unsubscribe from this group, send email to taterbugmando+unsubscr...@googlegroups.com. For more options, visit this group at http://groups.google.com/group/taterbugmando?hl=en.
Re: Monroe Camp 2010
The kind with eyes, Arkie. Was the only thing he could grow in the garden, I'm told. Wasn't much good with the rest of it. TBug On Feb 27, 10:54 am, Jonathan Trawick fiddlinarkan...@gmail.com wrote: what kind of taters did monroe typically consume? On Sat, Feb 27, 2010 at 10:52 AM, mistertaterbug taterbugmu...@gmail.comwrote: Eat your taters... TB On Feb 27, 10:50 am, Jonathan Trawick fiddlinarkan...@gmail.com wrote: i would like some training on carrying the whole band on my shoulders... On Fri, Feb 26, 2010 at 9:27 PM, Mark Seale mark.se...@gmail.com wrote: How about a course on Tater rhythm? On Fri, Feb 26, 2010 at 8:54 PM, mistertaterbug taterbugmu...@gmail.comwrote: Howdy howdy howdy. The annual Bill Monroe Mandolin Camp is coming up in September. We're in the planning stages right now, recruiting, working on the teacher roster, curriculum, events, etc. I think this year we'll not dictate so much what is taught, but ask for electives from the teachers. Still, I'm curious what comes to mind as valid subject matter at a Monroe camp. Of course, there's tunes, how to play tunes and songs, hand usage, some Monroe theory, historic landmark solos, rhythm, tremolo, downstrokes, so on and so forth. What else? Seems to me that Bil's singing style is a valid topic as well. Plus, the overall band sound, the sho' nuff' bluegrass band sound. Historically speaking, of course. The old sound. What made it what it was? I suppose a course in bus mechanics would be useful too, but that would take more than one weekend. Anyway, I'd like to hear some thoughts from you buggers whether you've gone to the camp or not. ...and I'm a'thankin' yah... taterbug -- You received this message because you are subscribed to the Google Groups Taterbugmando group. To post to this group, send email to taterbugma...@googlegroups.com. To unsubscribe from this group, send email to taterbugmando+unsubscr...@googlegroups.comtaterbugmando%2bunsubscr...@googlegroups.com taterbugmando%2bunsubscr...@googlegroups.comtaterbugmando%252bunsubscr...@googlegroups.com . For more options, visit this group at http://groups.google.com/group/taterbugmando?hl=en. -- You received this message because you are subscribed to the Google Groups Taterbugmando group. To post to this group, send email to taterbugma...@googlegroups.com. To unsubscribe from this group, send email to taterbugmando+unsubscr...@googlegroups.comtaterbugmando%2bunsubscr...@googlegroups.com taterbugmando%2bunsubscr...@googlegroups.comtaterbugmando%252bunsubscr...@googlegroups.com . For more options, visit this group at http://groups.google.com/group/taterbugmando?hl=en. -- You received this message because you are subscribed to the Google Groups Taterbugmando group. To post to this group, send email to taterbugma...@googlegroups.com. To unsubscribe from this group, send email to taterbugmando+unsubscr...@googlegroups.comtaterbugmando%2bunsubscr...@googlegroups.com . For more options, visit this group at http://groups.google.com/group/taterbugmando?hl=en. -- You received this message because you are subscribed to the Google Groups Taterbugmando group. To post to this group, send email to taterbugma...@googlegroups.com. To unsubscribe from this group, send email to taterbugmando+unsubscr...@googlegroups.com. For more options, visit this group at http://groups.google.com/group/taterbugmando?hl=en.
Re: Monroe Camp 2010
i hear ya! On Sat, Feb 27, 2010 at 10:59 AM, mistertaterbug taterbugmu...@gmail.comwrote: The kind with eyes, Arkie. Was the only thing he could grow in the garden, I'm told. Wasn't much good with the rest of it. TBug On Feb 27, 10:54 am, Jonathan Trawick fiddlinarkan...@gmail.com wrote: what kind of taters did monroe typically consume? On Sat, Feb 27, 2010 at 10:52 AM, mistertaterbug taterbugmu...@gmail.comwrote: Eat your taters... TB On Feb 27, 10:50 am, Jonathan Trawick fiddlinarkan...@gmail.com wrote: i would like some training on carrying the whole band on my shoulders... On Fri, Feb 26, 2010 at 9:27 PM, Mark Seale mark.se...@gmail.com wrote: How about a course on Tater rhythm? On Fri, Feb 26, 2010 at 8:54 PM, mistertaterbug taterbugmu...@gmail.comwrote: Howdy howdy howdy. The annual Bill Monroe Mandolin Camp is coming up in September. We're in the planning stages right now, recruiting, working on the teacher roster, curriculum, events, etc. I think this year we'll not dictate so much what is taught, but ask for electives from the teachers. Still, I'm curious what comes to mind as valid subject matter at a Monroe camp. Of course, there's tunes, how to play tunes and songs, hand usage, some Monroe theory, historic landmark solos, rhythm, tremolo, downstrokes, so on and so forth. What else? Seems to me that Bil's singing style is a valid topic as well. Plus, the overall band sound, the sho' nuff' bluegrass band sound. Historically speaking, of course. The old sound. What made it what it was? I suppose a course in bus mechanics would be useful too, but that would take more than one weekend. Anyway, I'd like to hear some thoughts from you buggers whether you've gone to the camp or not. ...and I'm a'thankin' yah... taterbug -- You received this message because you are subscribed to the Google Groups Taterbugmando group. To post to this group, send email to taterbugma...@googlegroups.com. To unsubscribe from this group, send email to taterbugmando+unsubscr...@googlegroups.comtaterbugmando%2bunsubscr...@googlegroups.com taterbugmando%2bunsubscr...@googlegroups.comtaterbugmando%252bunsubscr...@googlegroups.com taterbugmando%2bunsubscr...@googlegroups.comtaterbugmando%252bunsubscr...@googlegroups.com taterbugmando%252bunsubscr...@googlegroups.comtaterbugmando%25252bunsubscr...@googlegroups.com . For more options, visit this group at http://groups.google.com/group/taterbugmando?hl=en. -- You received this message because you are subscribed to the Google Groups Taterbugmando group. To post to this group, send email to taterbugma...@googlegroups.com. To unsubscribe from this group, send email to taterbugmando+unsubscr...@googlegroups.comtaterbugmando%2bunsubscr...@googlegroups.com taterbugmando%2bunsubscr...@googlegroups.comtaterbugmando%252bunsubscr...@googlegroups.com taterbugmando%2bunsubscr...@googlegroups.comtaterbugmando%252bunsubscr...@googlegroups.com taterbugmando%252bunsubscr...@googlegroups.comtaterbugmando%25252bunsubscr...@googlegroups.com . For more options, visit this group at http://groups.google.com/group/taterbugmando?hl=en. -- You received this message because you are subscribed to the Google Groups Taterbugmando group. To post to this group, send email to taterbugma...@googlegroups.com. To unsubscribe from this group, send email to taterbugmando+unsubscr...@googlegroups.comtaterbugmando%2bunsubscr...@googlegroups.com taterbugmando%2bunsubscr...@googlegroups.comtaterbugmando%252bunsubscr...@googlegroups.com . For more options, visit this group at http://groups.google.com/group/taterbugmando?hl=en. -- You received this message because you are subscribed to the Google Groups Taterbugmando group. To post to this group, send email to taterbugma...@googlegroups.com. To unsubscribe from this group, send email to taterbugmando+unsubscr...@googlegroups.comtaterbugmando%2bunsubscr...@googlegroups.com . For more options, visit this group at http://groups.google.com/group/taterbugmando?hl=en. -- You received this message because you are subscribed to the Google Groups Taterbugmando group. To post to this group, send email to taterbugma...@googlegroups.com. To unsubscribe from this group, send email to taterbugmando+unsubscr...@googlegroups.com. For more options, visit this group at http://groups.google.com/group/taterbugmando?hl=en.
Re: Monroe Camp 2010
I second the Tater rhythm course of study. -- You received this message because you are subscribed to the Google Groups Taterbugmando group. To post to this group, send email to taterbugma...@googlegroups.com. To unsubscribe from this group, send email to taterbugmando+unsubscr...@googlegroups.com. For more options, visit this group at http://groups.google.com/group/taterbugmando?hl=en.
Monroe Camp 2010
Howdy howdy howdy. The annual Bill Monroe Mandolin Camp is coming up in September. We're in the planning stages right now, recruiting, working on the teacher roster, curriculum, events, etc. I think this year we'll not dictate so much what is taught, but ask for electives from the teachers. Still, I'm curious what comes to mind as valid subject matter at a Monroe camp. Of course, there's tunes, how to play tunes and songs, hand usage, some Monroe theory, historic landmark solos, rhythm, tremolo, downstrokes, so on and so forth. What else? Seems to me that Bil's singing style is a valid topic as well. Plus, the overall band sound, the sho' nuff' bluegrass band sound. Historically speaking, of course. The old sound. What made it what it was? I suppose a course in bus mechanics would be useful too, but that would take more than one weekend. Anyway, I'd like to hear some thoughts from you buggers whether you've gone to the camp or not. ...and I'm a'thankin' yah... taterbug -- You received this message because you are subscribed to the Google Groups Taterbugmando group. To post to this group, send email to taterbugma...@googlegroups.com. To unsubscribe from this group, send email to taterbugmando+unsubscr...@googlegroups.com. For more options, visit this group at http://groups.google.com/group/taterbugmando?hl=en.
Re: Monroe Camp 2010
How about a course on Tater rhythm? On Fri, Feb 26, 2010 at 8:54 PM, mistertaterbug taterbugmu...@gmail.comwrote: Howdy howdy howdy. The annual Bill Monroe Mandolin Camp is coming up in September. We're in the planning stages right now, recruiting, working on the teacher roster, curriculum, events, etc. I think this year we'll not dictate so much what is taught, but ask for electives from the teachers. Still, I'm curious what comes to mind as valid subject matter at a Monroe camp. Of course, there's tunes, how to play tunes and songs, hand usage, some Monroe theory, historic landmark solos, rhythm, tremolo, downstrokes, so on and so forth. What else? Seems to me that Bil's singing style is a valid topic as well. Plus, the overall band sound, the sho' nuff' bluegrass band sound. Historically speaking, of course. The old sound. What made it what it was? I suppose a course in bus mechanics would be useful too, but that would take more than one weekend. Anyway, I'd like to hear some thoughts from you buggers whether you've gone to the camp or not. ...and I'm a'thankin' yah... taterbug -- You received this message because you are subscribed to the Google Groups Taterbugmando group. To post to this group, send email to taterbugma...@googlegroups.com. To unsubscribe from this group, send email to taterbugmando+unsubscr...@googlegroups.comtaterbugmando%2bunsubscr...@googlegroups.com . For more options, visit this group at http://groups.google.com/group/taterbugmando?hl=en. -- You received this message because you are subscribed to the Google Groups Taterbugmando group. To post to this group, send email to taterbugma...@googlegroups.com. To unsubscribe from this group, send email to taterbugmando+unsubscr...@googlegroups.com. For more options, visit this group at http://groups.google.com/group/taterbugmando?hl=en.
