Thanks there! Got it Robin On Mon, Sep 14, 2009 at 3:45 PM, mistertaterbug <[email protected]> wrote: > > Robin, > I just uploaded a transcription of the mando solo on "Letter From My > Darlin" if you want to have a go at it. Check out the Files page. > TBug > > On Sep 13, 3:21 pm, Robin Gravina <[email protected]> wrote: >> 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? > > >
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