Number 7? Awesome.
________________________________ From: taurodont <[email protected]> To: Taterbugmando <[email protected]> Sent: Tue, March 9, 2010 9:11:40 PM Subject: Re: Monroe Camp 2010 I have been to all of the previous camps. I think it is time to court Ronnie McCoury for one of these. Or Sam? That said I thought last years line up was fantastic. The wonderful tenor vocalists really made the faculty concert special. A few topics to consider: 1. Closed position playing and techniques Monroe used and repeated. 2. A whole class on the break to Columbus Stockade Blues 3. Double stops- can you ever really have enough? 4. Blue Moon of Ky. in 3 keys 5. Rhythm patterns- the whole class plays the same chord or double stop but has to learn a variety of different, useful rhythms. 6. Compare a known melody against Monroe's interpretation of it. 7. Playing the same note for more than one beat. This elementary technique seems to be almost lost in many of todays pickers. 8. A class on restraint. Possibly the hardest technique to master. Some tunes Bill only took a half break on. why? 9. A class on vocal harmony. Maybe show the notes on the mandolin to help explain the intervals at work. 10. Mastering the keys of B and Bb in one easy lesson. Obviously bullshit but always good to learn more about as long as they make capos for banjo players. 11. Turnaround kickoffs- I sat in on Richie's class last year and it seemed to be a hit. These miniature pieces people can master relatively quickly and feel like they are leaving with something useful. 12. Singing one of Bill's tunes in a normal humans register. I.E. transposition. 13. Intro to the bluegrass jam for beginners featuring a few Bill tunes. This would be a good one to supply a few basic tabs and chords for a few months in advance for them to work on. Last year one of the fellow campers suggested that the intermediate or advanced Campers could easily teach some of the beginners classes. I would be willing and I bet we could get Terry Bullin to teach that Stockade Blues class if we can get him out of N.C. for a weekend. Just a thought. Maybe with a slight tuition reduction or something. I wouldn't do it so much for the money as for the fact that I enjoy teaching. This might leave more funds for the pro's? I think any int./ adv. picker could fill up a beginners class on double stops or a basic class on a fiddle tune or pick direction. Good luck planning this thing Mike. I am sure with you at the helm it will be worth going to. Figure I'll be there again. John On Mar 9, 11:48 am, Mike Hedding <[email protected]> wrote: > I still think another good topic for discussion would be taking a tune > monroe didn't typically play and have the class try to individually > create their own monroe influenced solo for the song. > > I think this could lead to some good discussion if everyone played > their solo's and kind of compared what parts of the melody the skipped > or tried to bring out. I think it'd be interesting at least, I think > you'd get quite of bit of variation between the solos and everyone > could kind of steal the best things from each persons solos and the > class could then come to some sort of consensus on the "final" break. > > This for me is something I need help on anyways. It's sometimes hard > to transfer the knowledge to a new tune and make it work in the style > that we all love. Any help on this would be appreciated. > > Mike -- 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. -- 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.
