Don’t you know any songs without a bunch minor chords? How about some traditional bluegrass we all know? Try to avoid the “jambusters” this time. Is there really a transition from one style of music to another? While it is true that most of us who began our music appreciation in the 70s were either rock and roll or folk enthusiasts, there were a few that were playing Bill Monroe tunes. We thought these tunes were just for beginning banjo players. Bluegrass, not a very popular genre in California in those days, wasn’t readily available on the radio or on the Ed Sullivan Show. Except for maybe Mayberry when the Dillards stopped by Andy’s house. But they really weren’t depicted as the smartest pickers in the hills. Then there was the Burt Reynolds movie… need I say more.
Folk/Country Transition to Bluegrass
Those of us who were (just a bit) interested in the ‘original’ American music were drawn to it because country or folk music doesn’t have the drive that a good bluegrass group can have. Right now I cannot think of one folk tune that makes folks what to stomp their feet and hitch up their elbows. And… that is the fun right? The tunes are about death, devastation and murder and still makes one want to dance. That has to be a good thing in whatever world we live in.
Even though the majority of the traditional bluegrass music generally consists of three chords it’s the vocals that make it music. Natural harmonies and backup licks contain more minor notes than we, maybe know. The quick vocals and intonations in a high lonesome murder tune can only be true to traditional bluegrass by practice and practice. As a sole player with one instrument it is almost impossible to convey the feeling of a song to the group you are jamming with.
A transition to bluegrass also requires a vocal change. Some are natural at that, especially men (beats me) who can sing out an extremely high harmony. That impresses me every time! Rarely can a woman develop that sound (beats me).
How about singing a song we all know. Didn’t three others just do that song – considerably better that you would have anyway? That’s a dilemma most of us have yet to solve except for the musicians. The same song could be played four times and every mandolin, banjo, fiddle guitar and dobro break will be different. It’s downright amazing! And, the subject of how many chords? Fiddle tunes are riddled with chords, so much there is a wide selling cheat book that is a staple in the guitar case for most of us (me). So how about the three chords that go forward, back up, change in the break, repeat in the chorus – is this not a jam buster? I suppose most difficult part of the transition from one type of music to another would be learning the rules. Except (long pause) what are they?
Those player and singers that have the, oh- so- precious, luck of living in a region where there are numerous bluegrass musicians of different levels to jam with on a regular basis will know the rules I suppose. Perhaps someone could share them with me. I am sure I am not alone in this. There should be a new rule that if you jam with a group all year, you must rotate away from them at festivals and campouts. Say, every third song…
Playing ‘Hot Corn Cold Corn’ over and over while at home alone can cause a divorce (trust me). Playing along with a CD is too hard. How about learning with “The Amazing Slowdowner” computer app. I think I am starting to sound that way…Until then I am stuck in my folkgrass transition until further notice.
