Linda - fully endorse the book recommendation: I ordered it a few months ago and it succeeds in making the connection between the life and the music, although it doesn't have transcriptions or a detailed study of the shifts in style. I listened to 'Letter from my Darling' just recently to work out the solo and intro and it is just amazing when you know the story behind the song, which I won't spoil for you by telling here. Monroe sounds just so impatient to play his solo that it fills the whole song with tremendous energy and desire. When he finally gets to it, the relief is palpable and he says what he wanted to say. He kept his solo to the end, so I guess we can't rule out a showman knowing how to create energy and desire so that his girl would keep listening to the words. Whatever it is, the effect is just heartrending.
A question, as I have been so long without a class, and have a lot of stuff stored up: Where do you all play the kind of tremolo on the intro to that song, or Old Crossroads a waiting: I think it's usually in threes, but sometimes in fours, In the key of G, it would be on D on the second string, G on the first. xx53 and lasting two and a bit beats. I have been trying it close to the bridge, all the way up to over the frets and each place gets a different sound, obviously never as good as the source, but I can't really decide what is the good way: I hear the energy coming in very quickly and stopping very suddenly: like a phone as Tater says. Also, how is the pick? leaned outwards towards the high strings relative to a perpendicular to the mandolin is what MC said, but the pick parallel to the strings or angled (axis from F hole to F hole)?? I think it's such a key part of the sound that I would like to hear some detailed opinions from those who have perhaps got somewhere close. On Sun, Sep 13, 2009 at 8:47 PM, Mike Hedding <[email protected]> wrote: > > There already is a great book documenting Monroes life called "can't > you hear me calling" talks a lot about all the different stages in his > life and a lot about different tunes he wrote. > > Check it out it's a great read. > > Mike Hedding > > > On Sep 13, 2009, at 9:45 AM, Linda <[email protected]> wrote: > >> >> Recently took a look at a thread on Mandolin Cafe re Bill Monroe, >> there were a few who who voiced an opinion that the Monroe Legacy is >> losing ground in the music scene, or something near that idea. >> >> Sure wish somebody had the time and inclination to put something >> together to boost Monroe's profile. I would like to own a book that >> linked up his music with his life, what he wrote/arranged/played at >> various stages in his career, complete with tabs and dots and some >> background on the tunes and just how that slotted into what was going >> on in his life. >> It would be nice to consider the range of things he did musically over >> his lifetime, when he wrote what, etc.. >> >> Currently I am playing Sweetheart You Done Me Wrong. Looking at the >> melody line of the tune from another source then the Monroe take >> transcribed by Mr. Tater. For me, Monroe was a genius at taking a >> fairly simple, even ordinary melody like this one and transforming it >> into something of complete beauty. >> >> I would love to read what other folks, who are more informed re the >> scope of Monroe's work, have to say about what he did that made his >> music so special. >> I am so far not as keen on the hard driving flying fingers bluegrass >> but love those harmonies and decorations, spin, etc. Monroe put on the >> rest of the music he graced us with. >> >> There is a book crying out to be made, but who has the time and the >> knowledge to do it? >> >> >> > > > > > --~--~---------~--~----~------------~-------~--~----~ 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 -~----------~----~----~----~------~----~------~--~---
