I really liked John's suggestions. Especially on the use of arpeggios. Some topics I'd be into:
Mixing Arpeggios and Slides - Monroe would often move from one "mode" to the other in the 2nd part of a break - I struggle with this mightily. Fiddle Tunes - Monroe played fiddle tunes with his own style thoroughly embedded on them. As someone who plays both old time and bluegrass, this would be really cool to understand more about his approach. Picking like a Bow - On that topic, I think Bill's playing is more "old timey" than not. Trying to use the pick to emphasize the sound of old time fiddling is tough to do - have a fiddler play and then someone demonstrate how Bill would emulate that in his playing? Early Monroe - Bill's playing with Charlie in the early days is quite different to my ear than his bluegrass playing. It almost seems faster and more linear. What amazes me is how he comes up with 4-5 breaks, all interesting and keeping the melody in mind. Backing Up Singers - Something folks overlook alot is Bill's fills (ha!). I really like the way he could bring emotional emphasis to what someone was singing. Just a few ideas. This camps sounds great and I'm gonna block it off on the calendar now. Thanks for taking up the reigns on it Tater! Jeff On Feb 9, 11:40 pm, mistertaterbug <[email protected]> wrote: > Well, now don't get your boxers in a bind, there's only gonna be about > half dozen or so off that list. That's only my list of people to call > to find out if they're available or interested. The IBMM will do the > choosing. > > Taterbug > > On Feb 9, 7:23 pm, Nelson <[email protected]> wrote: > > > > > I have been "out of the loop" for a few days. I have to say that I > > really liked Richie Brown last year, and would like to see him again. > > That is a Who's Who list you have there, Tater. I look forward to > > it.... > > > On Feb 9, 2:27 pm, mistertaterbug <[email protected]> wrote: > > > > Another note on the Monroe Camp... > > > > No official word on the instructor roster so far, but moving closer to > > > a final list. Unfortunately, Bobby Osborne will not be back because > > > he's got work that weekend. Good for him, I say. I've been in contact > > > or left messages with Sam Bush, Ronnie McCoury, Ricky Skaggs(no, > > > really), Tim O'Brien, David Davis, David McLaughlin, Skip Gorman, > > > Butch Waller and Richie Brown. Will Kimble says he might like to come > > > back and do setups again.Tom Ewing will likely be back too. > > > > Looks like there will be a trip up to the Monroe homeplace again and > > > gravesite in Rosine. There will be a trip to the resting place of > > > Arnold Schultz and and a meeting with some of Schultz' living > > > relatives at the Rosine Barn and General Store plus a jam there. Now > > > we're talking. Looks like too, that Gabrielle Gray, head of the IBMM, > > > has offered her ample home for jamming space on Friday and Saturday > > > nights. As soon as I find out who all will be joining us. the topics > > > list will be revised and requests will be made accordingly. So, it's > > > coming along. > > > > Sign up now, avoid the rush. Hey, how come everybody quit talking > > > about this? Has everyone chimed in that's going to? > > > Tater > > > > On Jan 25, 11:45 pm, mistertaterbug <[email protected]> wrote: > > > > > Okay, okay, the speculation regarding Monroe and Scotland is good, but > > > > back to the topic...What is missing from the headings list regarding > > > > MonroeCamp? What has been overlooked? What has not been looked at > > > > closely enough? Any other old/new fusion ideas(reasonable, of course)? > > > > It needs to be understood that there is a lot of this that I take for > > > > granted because I don't necessarily need to actively think about to > > > > play "Wheel Hoss" or "You Won't Be Satisfied That Way" or whatever. > > > > There may be whole topics for discussion that lay buried in the info > > > > that would really help explain the style better to all of us, just it > > > > has not been recognized so far. Come on, this group page is for us all > > > > to use to talk about this mandolin music obsession we have. I know > > > > there's more of you here than are responding. I know there are > > > > opinions and questions not being voiced. > > > > > Jump in the fray. > > > > Tater > > > > > On Jan 22, 6:33 pm, taurodont <[email protected]> wrote: > > > > > > I have been to all three Monroe Camps. > > > > > > Although I learned from all the previous instructors I got the most > > > > > out of Tater, Butch Waller and Skip Gorman. All three had classes > > > > > where you walked in, there was a brief introduction , then they > > > > > started to pound a song into your brain. That is good learning. > > > > > Frank is an amazing picker but is so scatter brained that you can > > > > > hardly get a straight thought out of him. I had to verbally pin him > > > > > down to show us a break to Blue Moon of Kentucky. > > > > > > I enjoy the history and lore but am mostly there to get better in > > > > > that style. Repeatedly I overheard fellow students say they wished > > > > > more songs or techniques were taught. People get irritated when they > > > > > sit through a class and never get to remove their mando from the > > > > > case. > > > > > > My foremost complaint was that some instructors clearly had given no > > > > > thought to what they would teach. Students appreciate when an > > > > > instructor has given the class some thought ahead of time. I can > > > > > remember several classes where the instructor came in and said > > > > > "Monroe's Timing? I'm not sure how to approach this". Then by the > > > > > time they figure something out to teach the class is over. I think > > > > > parameters or suggestions along with the class titles may help guide > > > > > them. For instance the class title may be "Monroe's blues" and the > > > > > objective to present several songs that illustrate his use of the > > > > > blues or themes that recur that are "blue". Or maybe a class that > > > > > touches on a few songs that use the downstroke and tremelo. Or maybe > > > > > one devoted to Gospel turnarounds. > > > > > > I don't see any probllem rehashing some of the previous camps concepts > > > > > except with different instructors. > > > > > > I would like to see David McLaughlin, Ronnie McCoury, David Davis. Or > > > > > how about some fiddlers that can also play mandolin, especially those > > > > > familiar with Monroe's fiddlers. Perhaps Aubrey Haynie or Mike > > > > > Cleveland. Although all talented I have no idea how good of teachers > > > > > they are and that is an extremely important skill to have when in > > > > > charge of a class. So many excellent musicians are not efficient > > > > > teachers. Tater is an exception. > > > > > > Enough for now. I'm sure it will be a good one if Tater is at the > > > > > helm. > > > > > > 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 > > > > > > MandolinCamp2009. I understand that Mike Lawing doesn't work at the > > > > > > museum anymore, so that leaves a gap. From what I can gather thus > > > > > > far, > > > > > > thecampwill 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 thecamp, 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 thecampbefore 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? Thecampis, 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- Hide quoted text - > > > > - Show quoted text -- Hide quoted text - > > - Show quoted text - --~--~---------~--~----~------------~-------~--~----~ 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 -~----------~----~----~----~------~----~------~--~---
