All right then I'll try to shed a few more rays of light. Topics :
Monroe and the pentatonic scale, the winter of his life. This sound is more prevalent toward the end. Demonstrate several tunes and teach a few of them. And yes I know that he probably didn't know what scale it was just that it had the sound he was after at the time. True life Lore. History lesson that explains where the themes in his songs came from. For those of us that haven't read the books. Heavy 12 bar blues ahead. Teach several Monroe instrumentals that use the 12 bar blues as a foundation. Bill The Arpeggiator. He used broken chord runs all over the place. Show us Tater. Think Monroes break to Back Up And Push Double Stop and Drone Mania. Exhibition of every Double stop Bill could muster. Closed Position Breaks. Double Stop and Single note lines out of chord positions. Monroe's Advanced Rhythmic Devices. What made that right hand tick. Why is it a nightmare to duplicate? Evolution Or Mileage? Monroe recorded several songs in multiple keys. Show us breaks to one of them in several keys. Down Stroke And Tremelo. A La a nice waltz. Down Strokin'. Sometimes it sounds like he might be beating his mandolin within an inch of it's life. Song Structure. What are some of the definitve bluegrass chord progressions that Monroe used throughout his career. I think I would focus less on what the music descended from and more on what it is. Obviously it borrowed extensively but became its own entity. John On Jan 19, 11:49 pm, mistertaterbug <[email protected]> wrote: > I agreed today to take the administrative (uhm...or was that advisory) > duties for the International Bluegrass Music Museum's Bill Monroe > Mandolin Camp 2009. I understand that Mike Lawing doesn't work at the > museum anymore, so that leaves a gap. From what I can gather thus far, > the camp will basically be similar in format to the last few. It will > be on/around Monroe's birthday and will be Friday/Saturday/Sunday. > There will be at least 5 instructors and the topics will be somewhat > similar, but I am looking at other aspects of KY style bluegrass > mandolin that have not been touched on so much before. > > I know some of you on this here list have been to the camp, whilst > others have not. What I would like for you to do, beings we have this > forum, is to think about what it was you didn't get last time that > would have been welcome knowledge. What aspects of Bill's music did > not get looked at, either at all or adequately? Is there something > slipping through the cracks that I'm just not thinking of? What have I > left out? Are there artists currently working that have not worked as > instructors at the camp before that either loosely base some of their > work on Monroe's mandolin style or whom you'd like to see tackle KY > style mandolin with a more contemporary flair? The camp is, of course, > devoted to furthering and explaining Monroe's work and music, so I'm > not saying we need to get too far out on a limb. I am also looking at > possibly having the "before bluegrass" idea actively pursued, as well > as the black mandolin culture. Maybe we should go to Arnold Schultz' > gravesite. > > Anyway, I would welcome any suggestions/requests/complaints that may > be floating around. I think there needs to be some other activities to > do besides classes too, but right now at this early stage in the game, > I'm drawing a blank. Now's the time to have your say. > > Tater --~--~---------~--~----~------------~-------~--~----~ You received this message because you are subscribed to the Google Groups "Taterbugmando" group. To post to this group, send email to [email protected] To unsubscribe from this group, send email to [email protected] For more options, visit this group at http://groups.google.com/group/taterbugmando?hl=en -~----------~----~----~----~------~----~------~--~---
