Now we're getting somewhere. You see, the main thing I run into is that after a lot of years of beating out these tunes (not to mention beating my head against a wall), I don't think about what the sounds/configurations/scales/ phrases/etc are called. I just go for them. I think so does anyone else that's done anything for 30+ years. That part is not unusual. That's not the hard part. Everyone is familiar with the scenario where no questions are being asked because there is not enough experience/ knowledge to know what questions to ask, but I find that I don't recognize a lot of what I'm doing by any given name or musical definition, so I don't know that it should be taken apart and I don't know how I should explain it. In other words, I'm not aware that there are questions about what's going on unless they're being asked. That's why I always over-encourage people to ask questions, any and all.
These are good topics with clear headings and that makes the aspects easier to identify and hopefully, explain. And, as I figured would happen, some of these topics are not aspects of the music that I give much thought to, at least not consciously. I should be shot at dawn, if not before. Tater On Jan 28, 10:09 pm, taurodont <[email protected]> wrote: > 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 -~----------~----~----~----~------~----~------~--~---
