Clarence White: A Pioneer of Bluegrass and Country Rock

Clarence White, born Clarence Joseph LeBlanc, was an American bluegrass and country guitarist and singer, known for his work with the Kentucky Colonels and the Byrds. He was a pioneer of the musical genre of country rock during the late 1960s and worked extensively as a session musician, appearing on recordings by numerous artists, including the Everly Brothers, Joe Cocker, and Randy Newman.

White was born on June 7, 1944, in Lewiston, Maine, to the LeBlanc family, who later changed their surname to White. His father, Eric LeBlanc Sr., played various instruments, including guitar, banjo, fiddle, and harmonica, and ensured that his children grew up surrounded by music. Clarence started playing guitar at the age of six, but due to his young age and small hands, he briefly switched to ukulele.

In 1954, the White family moved to Burbank, California, and Clarence joined his brothers Roland and Eric Jr. in a trio called Three Little Country Boys. They started out playing contemporary country music but soon switched to a purely bluegrass repertoire, with banjoist Billy Ray Latham and Dobro player LeRoy Mack joining the line-up. The band renamed themselves the Country Boys in 1957, and in 1961, they added Roger Bush on double bass, appearing on two episodes of The Andy Griffith Show that same year. Between 1959 and 1962, the group released three singles on different record labels.

Following the recording sessions for the Country Boys' debut album, the band changed its name to the Kentucky Colonels in September 1962, at the suggestion of country guitarist and friend Joe Maphis. The band's album, The New Sound of Bluegrass America, was released by Briar International in early 1963. Around this time, White's flatpicking guitar style was becoming a more prominent part of the group's music. After attending a performance by Doc Watson, he began to explore the possibilities of the acoustic guitar's role in bluegrass music, integrating elements of Watson's playing style into his own flatpicking technique.

The Kentucky Colonels became well-known on the bluegrass circuit and made many live appearances throughout California and the United States. White's breathtaking speed and virtuosity on the guitar made it a lead instrument within bluegrass. The Colonels' second album, Appalachian Swing!, was a commercial success and saw White's flatpicking permanently expand the language of bluegrass guitar, helping to pioneer a new style in bluegrass.

Although they were a successful recording act, the Colonels found it difficult to make a living due to the waning popularity of the American folk music revival. As a result, they switched to electric instrumentation and hired a drummer, but the band dissolved following a show on October 31, 1965. Clarence, Roland, and Eric Jr. formed a new line-up of the Colonels in 1966, but this second version of the group was short-lived, and they broke up by early 1967.

White's session work as a guitarist continued, and he contributed to recordings by many artists, including Joe Cocker's "Mad Dogs & Englishmen" and Randy Newman's "Sail Away." He also worked with Gene Parsons on the invention of the B-Bender, a guitar accessory that enables a player to mechanically bend the B-string up a whole tone and emulate the sound of a pedal steel guitar.

In 1968, White joined the Byrds as their lead guitarist, contributing to their seminal country rock albums, "Sweetheart of the Rodeo" and "Dr. Byrds & Mr. Hyde."

Born as Clarence Joseph LeBlanc in Lewiston, Maine on June 7, 1944, he began playing guitar at the age of six and later switched to ukulele until his hands grew enough to confidently handle the guitar. White's family moved to Burbank, California in 1954, where he joined his brothers in the Three Little Country Boys, which later became the Country Boys.

White and other members of the Country Boys appeared on two episodes of The Andy Griffith Show in 1961. The Country Boys changed their name to the Kentucky Colonels in September 1962 and became well known on the bluegrass circuit, releasing three singles between 1959 and 1962. The group made many live appearances throughout California and the United States, and White's flatpicking guitar style was becoming an increasingly prominent part of the group's music.

White's flatpicking style was largely responsible for making the guitar a lead instrument in bluegrass music, redefining the acoustic guitar as a solo instrument. In addition to his work with the Kentucky Colonels, White was also a session musician, appearing on recordings by many renowned artists, including the Everly Brothers, Joe Cocker, and Linda Ronstadt.

In mid-February 1973, White joined a bluegrass supergroup called Muleskinner, along with Peter Rowan, David Grisman, Richard Greene, and Bill Keith. The band was initially assembled as a one-off pickup band to back bluegrass pioneer Bill Monroe for a television program, but they ended up performing on their own when Monroe's tour bus broke down on the way to the television studios. A recording of this broadcast was released as an album in 1992, under the title Muleskinner Live, and the band was offered a one-album recording contract with Warner Bros. Records.

White reunited with his brothers Roland and Eric Jr. for a tour as the White Brothers in 1973, and after playing a handful of shows in California, they departed for Europe in May 1973. White's final bout of touring took place with the New Kentucky Colonels in June 1973, as part of a four-date country rock package tour. Following the end of the package tour, White entered the recording studio with producer Jim Dickson to begin work on a solo album. He recorded a total of six songs, four of which were belatedly released on the archival album Silver Meteor: A Progressive Country Anthology in 1980.

Unfortunately, White's career was cut short when he died on July 15, 1973, after being struck by a drunk driver. White's death was a significant loss to the music world, and he was survived by his brothers Roland and Eric and sisters JoAnne and Rosemarie, and his one daughter, Michelle.

White's influence on music is profound and far-reaching, as he helped popularize the acoustic guitar as a lead instrument in bluegrass music. He was an inspiration to many notable guitarists such as Dan Crary, Norman Blake, and Tony Rice, and his bluegrass playing with the Kentucky Colonels influenced Jerry Garcia of the Grateful Dead. White was also influential on the electric side of the guitar spectrum, and he invented the B-Bender device with fellow Byrds band member Gene Parsons.

Alec Palao, a music archivist and writer, has referred to White as "one of a handful of true greats amongst the instrumentalists of 20th-century popular music." Rolling Stone magazine ranked White No. 41 on their list of the 100 Greatest Guitarists of All Time in 2003, and in 2010,

By Adam R Sweet.  Copyright 2023.  All Rights Reserved

#ClarenceWhite #Musician #Guitarist #Singer #Bluegrass #Country #CountryRock #SessionMusician #Pioneer #BBenderInventor #KentuckyColonels #TheByrds

Clarence White: A Pioneer of Bluegrass and Country Rock

Clarence White, born Clarence Joseph LeBlanc, was an American bluegrass and country guitarist and singer, known for his work with the Kentucky Colonels and the Byrds. He was a pioneer of the musical genre of country rock during the late 1960s and worked extensively as a session musician, appearing on recordings by numerous artists, including the Everly Brothers, Joe Cocker, and Randy Newman.

White was born on June 7, 1944, in Lewiston, Maine, to the LeBlanc family, who later changed their surname to White. His father, Eric LeBlanc Sr., played various instruments, including guitar, banjo, fiddle, and harmonica, and ensured that his children grew up surrounded by music. Clarence started playing guitar at the age of six, but due to his young age and small hands, he briefly switched to ukulele.

In 1954, the White family moved to Burbank, California, and Clarence joined his brothers Roland and Eric Jr. in a trio called Three Little Country Boys. They started out playing contemporary country music but soon switched to a purely bluegrass repertoire, with banjoist Billy Ray Latham and Dobro player LeRoy Mack joining the line-up. The band renamed themselves the Country Boys in 1957, and in 1961, they added Roger Bush on double bass, appearing on two episodes of The Andy Griffith Show that same year. Between 1959 and 1962, the group released three singles on different record labels.

Following the recording sessions for the Country Boys' debut album, the band changed its name to the Kentucky Colonels in September 1962, at the suggestion of country guitarist and friend Joe Maphis. The band's album, The New Sound of Bluegrass America, was released by Briar International in early 1963. Around this time, White's flatpicking guitar style was becoming a more prominent part of the group's music. After attending a performance by Doc Watson, he began to explore the possibilities of the acoustic guitar's role in bluegrass music, integrating elements of Watson's playing style into his own flatpicking technique.

The Kentucky Colonels became well-known on the bluegrass circuit and made many live appearances throughout California and the United States. White's breathtaking speed and virtuosity on the guitar made it a lead instrument within bluegrass. The Colonels' second album, Appalachian Swing!, was a commercial success and saw White's flatpicking permanently expand the language of bluegrass guitar, helping to pioneer a new style in bluegrass.

Although they were a successful recording act, the Colonels found it difficult to make a living due to the waning popularity of the American folk music revival. As a result, they switched to electric instrumentation and hired a drummer, but the band dissolved following a show on October 31, 1965. Clarence, Roland, and Eric Jr. formed a new line-up of the Colonels in 1966, but this second version of the group was short-lived, and they broke up by early 1967.

White's session work as a guitarist continued, and he contributed to recordings by many artists, including Joe Cocker's "Mad Dogs & Englishmen" and Randy Newman's "Sail Away." He also worked with Gene Parsons on the invention of the B-Bender, a guitar accessory that enables a player to mechanically bend the B-string up a whole tone and emulate the sound of a pedal steel guitar.

In 1968, White joined the Byrds as their lead guitarist, contributing to their seminal country rock albums, "Sweetheart of the Rodeo" and "Dr. Byrds & Mr. Hyde."

Born as Clarence Joseph LeBlanc in Lewiston, Maine on June 7, 1944, he began playing guitar at the age of six and later switched to ukulele until his hands grew enough to confidently handle the guitar. White's family moved to Burbank, California in 1954, where he joined his brothers in the Three Little Country Boys, which later became the Country Boys.

White and other members of the Country Boys appeared on two episodes of The Andy Griffith Show in 1961. The Country Boys changed their name to the Kentucky Colonels in September 1962 and became well known on the bluegrass circuit, releasing three singles between 1959 and 1962. The group made many live appearances throughout California and the United States, and White's flatpicking guitar style was becoming an increasingly prominent part of the group's music.

White's flatpicking style was largely responsible for making the guitar a lead instrument in bluegrass music, redefining the acoustic guitar as a solo instrument. In addition to his work with the Kentucky Colonels, White was also a session musician, appearing on recordings by many renowned artists, including the Everly Brothers, Joe Cocker, and Linda Ronstadt.

In mid-February 1973, White joined a bluegrass supergroup called Muleskinner, along with Peter Rowan, David Grisman, Richard Greene, and Bill Keith. The band was initially assembled as a one-off pickup band to back bluegrass pioneer Bill Monroe for a television program, but they ended up performing on their own when Monroe's tour bus broke down on the way to the television studios. A recording of this broadcast was released as an album in 1992, under the title Muleskinner Live, and the band was offered a one-album recording contract with Warner Bros. Records.

White reunited with his brothers Roland and Eric Jr. for a tour as the White Brothers in 1973, and after playing a handful of shows in California, they departed for Europe in May 1973. White's final bout of touring took place with the New Kentucky Colonels in June 1973, as part of a four-date country rock package tour. Following the end of the package tour, White entered the recording studio with producer Jim Dickson to begin work on a solo album. He recorded a total of six songs, four of which were belatedly released on the archival album Silver Meteor: A Progressive Country Anthology in 1980.

Unfortunately, White's career was cut short when he died on July 15, 1973, after being struck by a drunk driver. White's death was a significant loss to the music world, and he was survived by his brothers Roland and Eric and sisters JoAnne and Rosemarie, and his one daughter, Michelle.

White's influence on music is profound and far-reaching, as he helped popularize the acoustic guitar as a lead instrument in bluegrass music. He was an inspiration to many notable guitarists such as Dan Crary, Norman Blake, and Tony Rice, and his bluegrass playing with the Kentucky Colonels influenced Jerry Garcia of the Grateful Dead. White was also influential on the electric side of the guitar spectrum, and he invented the B-Bender device with fellow Byrds band member Gene Parsons.

Alec Palao, a music archivist and writer, has referred to White as "one of a handful of true greats amongst the instrumentalists of 20th-century popular music." Rolling Stone magazine ranked White No. 41 on their list of the 100 Greatest Guitarists of All Time in 2003, and in 2010,

By Adam R Sweet.  Copyright 2023.  All Rights Reserved

#ClarenceWhite #Musician #Guitarist #Singer #Bluegrass #Country #CountryRock #SessionMusician #Pioneer #BBenderInventor #KentuckyColonels #TheByrds

What does the term "Bluegrass" refer to? What is Bluegrass Music and who is responsible for that term? Why did Bill Monroe call his music "bluegrass music"? What is the difference between "old timey music" and "Bluegrass music?"

Bill Monroe and his Blue Grass Boys

Bill Monroe was a American musician and songwriter who is considered the father of bluegrass music. He was born in 1911 in Rosine, Kentucky, and began playing music at a young age. In the 1930s, Monroe formed a duo with his brother Charlie called the Monroe Brothers, and they began recording and performing together. The Monroe Brothers were very popular in the 1930s and 1940s, and they recorded a number of successful gospel and country songs.

Some of the Monroe Brothers' popular recordings include "What Would You Give (In Exchange for Your Soul?)," "The Little Glass of Wine," and "I'm Going to Make Heaven My Home."

After Charlie Monroe's death in 1940, Bill Monroe formed a new band called the Blue Grass Boys and began incorporating more blues and jazz elements into his music. He is credited with popularizing the term "bluegrass" and establishing the bluegrass genre, and he is considered one of the most influential musicians in American history. Monroe continued to record and perform until his death in 1996, and his contributions to bluegrass music have been recognized with numerous awards and accolades.

"Bluegrass" refers to a genre of American roots music that originated in the 1940s in the Appalachian region of the United States. It is characterized by the use of acoustic instruments, fast tempos, and the use of improvisation and "blue notes" (slightly flattened notes that give the music a distinctive sound).

The term "bluegrass" was coined by Bill Monroe, who is considered the father of bluegrass music. Monroe's band, the Blue Grass Boys, was named after his home state of Kentucky, which is known as the "Bluegrass State" due to the presence of bluegrass, a type of grass with blue-tinted blades. Monroe's band played a mix of old-timey music (a precursor to bluegrass) and blues, and the term "bluegrass" came to describe this unique blend of styles.

Old-timey music is a genre of American folk music that predates bluegrass. It is characterized by the use of traditional instruments such as the fiddle, banjo, and guitar, and often features call-and-response vocals. Old-timey music was popular in the southern and eastern United States in the late 19th and early 20th centuries, and it served as a major influence on the development of bluegrass.

Typical bluegrass instruments include the guitar, banjo, fiddle, mandolin, and double bass. Bluegrass musicians are known for their virtuosity and their ability to improvise and play solos.

Some famous bluegrass musicians include Bill Monroe, Earl Scruggs, Ralph Stanley, Flatt and Scruggs, Stuart Duncan and Alison Krauss.

What's the difference between Bluegrass and Celtic fiddle music?

Celtic fiddle music is a genre of folk music that originated in Ireland and Scotland, and it is characterized by its use of the fiddle and traditional dance rhythms. Bluegrass fiddle, on the other hand, is a style of playing the fiddle that developed in the United States, and it is an integral part of the bluegrass genre. Bluegrass fiddle is characterized by fast, complex playing that often involves improvisation and the use of "blue notes" (slightly flattened notes that give the music a distinctive sound).

Some famous bluegrass fiddlers include Vassar Clements, Bobby Hicks, and Jason Carter.

Some examples of bluegrass fiddle music include:

• "Orange Blossom Special" by Johnny Cash and the Tennessee Three
• "Rawhide" by Flatt and Scruggs
• "Foggy Mountain Breakdown" by Earl Scruggs
• "I'm Going Back to Old Kentucky" by Bill Monroe and His Blue Grass Boys
• "Fire on the Mountain"  
• "Blue Ridge Cabin Home" by the Stanley Brothers
• "Don't Let Your Deal Go Down" by Charlie Poole and the North Carolina Ramblers
• "The Devil Went Down to Georgia" by the Charlie Daniels Band

These songs are all examples of classic bluegrass tunes that feature fast, complex fiddle playing.

What is Newgrass and what is different about it?

Bluegrass is a genre of American roots music that originated in the 1940s in the Appalachian region of the United States. It is characterized by the use of acoustic instruments, fast tempos, and the use of improvisation and "blue notes" (slightly flattened notes that give the music a distinctive sound). Traditional bluegrass instruments include the guitar, banjo, fiddle, mandolin, and double bass, and the genre is known for its high level of musicianship and vocal harmonies.  Newgrass is a subgenre of bluegrass that incorporates elements of jazz and other styles of music. It is characterized by the use of improvisation, complex melodies, and sophisticated chord structures, and it often features a more eclectic mix of instruments than traditional bluegrass.

Newgrass Revival 1987

Jazz has had a significant influence on newgrass music, and many newgrass musicians are trained in both jazz and bluegrass. Sam Bush is often credited as being the first bluegrass musician to blend jazz and bluegrass, and his band, the New Grass Revival, helped to popularize the newgrass style in the 1970s and 1980s. Other musicians who have contributed to the development of newgrass include Darol Anger, Bela Fleck, Stuart Duncan, David Grisman, and Jerry Douglas.

Newgrass is characterized by the use of improvisation, complex melodies, and sophisticated chord structures, and it often features a more eclectic mix of instruments than traditional bluegrass. Newgrass musicians are known for their versatility and their ability to blend different styles of music.

In general, bluegrass is more traditional and roots-oriented, while newgrass is more experimental and innovative. However, there is a lot of overlap between the two genres, and many musicians play both traditional and newgrass music.

What does the term "Bluegrass" refer to? What is Bluegrass Music and who is responsible for that term? Why did Bill Monroe call his music "bluegrass music"? What is the difference between "old timey music" and "Bluegrass music?"

Bill Monroe and his Blue Grass Boys

Bill Monroe was a American musician and songwriter who is considered the father of bluegrass music. He was born in 1911 in Rosine, Kentucky, and began playing music at a young age. In the 1930s, Monroe formed a duo with his brother Charlie called the Monroe Brothers, and they began recording and performing together. The Monroe Brothers were very popular in the 1930s and 1940s, and they recorded a number of successful gospel and country songs.

Some of the Monroe Brothers' popular recordings include "What Would You Give (In Exchange for Your Soul?)," "The Little Glass of Wine," and "I'm Going to Make Heaven My Home."

After Charlie Monroe's death in 1940, Bill Monroe formed a new band called the Blue Grass Boys and began incorporating more blues and jazz elements into his music. He is credited with popularizing the term "bluegrass" and establishing the bluegrass genre, and he is considered one of the most influential musicians in American history. Monroe continued to record and perform until his death in 1996, and his contributions to bluegrass music have been recognized with numerous awards and accolades.

"Bluegrass" refers to a genre of American roots music that originated in the 1940s in the Appalachian region of the United States. It is characterized by the use of acoustic instruments, fast tempos, and the use of improvisation and "blue notes" (slightly flattened notes that give the music a distinctive sound).

The term "bluegrass" was coined by Bill Monroe, who is considered the father of bluegrass music. Monroe's band, the Blue Grass Boys, was named after his home state of Kentucky, which is known as the "Bluegrass State" due to the presence of bluegrass, a type of grass with blue-tinted blades. Monroe's band played a mix of old-timey music (a precursor to bluegrass) and blues, and the term "bluegrass" came to describe this unique blend of styles.

Old-timey music is a genre of American folk music that predates bluegrass. It is characterized by the use of traditional instruments such as the fiddle, banjo, and guitar, and often features call-and-response vocals. Old-timey music was popular in the southern and eastern United States in the late 19th and early 20th centuries, and it served as a major influence on the development of bluegrass.

Typical bluegrass instruments include the guitar, banjo, fiddle, mandolin, and double bass. Bluegrass musicians are known for their virtuosity and their ability to improvise and play solos.

Some famous bluegrass musicians include Bill Monroe, Earl Scruggs, Ralph Stanley, Flatt and Scruggs, Stuart Duncan and Alison Krauss.

What's the difference between Bluegrass and Celtic fiddle music?

Celtic fiddle music is a genre of folk music that originated in Ireland and Scotland, and it is characterized by its use of the fiddle and traditional dance rhythms. Bluegrass fiddle, on the other hand, is a style of playing the fiddle that developed in the United States, and it is an integral part of the bluegrass genre. Bluegrass fiddle is characterized by fast, complex playing that often involves improvisation and the use of "blue notes" (slightly flattened notes that give the music a distinctive sound).

Some famous bluegrass fiddlers include Vassar Clements, Bobby Hicks, and Jason Carter.

Some examples of bluegrass fiddle music include:

• "Orange Blossom Special" by Johnny Cash and the Tennessee Three
• "Rawhide" by Flatt and Scruggs
• "Foggy Mountain Breakdown" by Earl Scruggs
• "I'm Going Back to Old Kentucky" by Bill Monroe and His Blue Grass Boys
• "Fire on the Mountain"  
• "Blue Ridge Cabin Home" by the Stanley Brothers
• "Don't Let Your Deal Go Down" by Charlie Poole and the North Carolina Ramblers
• "The Devil Went Down to Georgia" by the Charlie Daniels Band

These songs are all examples of classic bluegrass tunes that feature fast, complex fiddle playing.

What is Newgrass and what is different about it?

Bluegrass is a genre of American roots music that originated in the 1940s in the Appalachian region of the United States. It is characterized by the use of acoustic instruments, fast tempos, and the use of improvisation and "blue notes" (slightly flattened notes that give the music a distinctive sound). Traditional bluegrass instruments include the guitar, banjo, fiddle, mandolin, and double bass, and the genre is known for its high level of musicianship and vocal harmonies.  Newgrass is a subgenre of bluegrass that incorporates elements of jazz and other styles of music. It is characterized by the use of improvisation, complex melodies, and sophisticated chord structures, and it often features a more eclectic mix of instruments than traditional bluegrass.

Newgrass Revival 1987

Jazz has had a significant influence on newgrass music, and many newgrass musicians are trained in both jazz and bluegrass. Sam Bush is often credited as being the first bluegrass musician to blend jazz and bluegrass, and his band, the New Grass Revival, helped to popularize the newgrass style in the 1970s and 1980s. Other musicians who have contributed to the development of newgrass include Darol Anger, Bela Fleck, Stuart Duncan, David Grisman, and Jerry Douglas.

Newgrass is characterized by the use of improvisation, complex melodies, and sophisticated chord structures, and it often features a more eclectic mix of instruments than traditional bluegrass. Newgrass musicians are known for their versatility and their ability to blend different styles of music.

In general, bluegrass is more traditional and roots-oriented, while newgrass is more experimental and innovative. However, there is a lot of overlap between the two genres, and many musicians play both traditional and newgrass music.

Some of my favorite musicians

I play and teach mandolin and fiddle.  The styles I play (and teach) are Celtic and Bluegrass, Classical and Balkan.  

Some of my most favorite musicians per style are:

Celtic

• Frankie Gavin - fiddler, De Dannan
• Seán Smyth - fiddler, Lunasa
• Winifred Horan - fiddler, Solas
• Claudine Langille - mandolin, tenor banjo
• Billy Oskay - fiddler, recording engineer, Night NOise
• Johnny "Ringo" McDonagh - bodhran, De Dannan
• Tommy Peoples - fiddler
• Alisdair Frasier - fiddler

Bluegrass

• Stuart Duncan - Nashville session player
• Jason Carter - fiddler, Travelin' McCoury's
• Scotty Stoneman - fiddler, The Kentucky Colonels
• Vassar Clemens - fiddler, Old and In The Way
• Richard Greene - fiddler, Mule Skinner
• Darol Anger - fiddler, the David Grisman Quintet

Classical

• Isaac Stern - concert violinist
• Yehudi Menuhin - concert violinist
• Pablo Casals - cellist and conductor
• Jacqueline du Pré - concert cellist
• Isaac Perlman - concert violinist
• Michael Tree - violist, Guarneri Quartet

Balkan/Klezmer

• Alicia Svigals - fiddler, Klezmatics
• Jascha Heifetz - violinist
• Baron Menuhin
• Kenny Kosek
• Daniel Hoffman - fiddler, Klez-X

Some of my favorite musicians

I play and teach mandolin and fiddle.  The styles I play (and teach) are Celtic and Bluegrass, Classical and Balkan.  

Some of my most favorite musicians per style are:

Celtic

• Frankie Gavin - fiddler, De Dannan
• Seán Smyth - fiddler, Lunasa
• Winifred Horan - fiddler, Solas
• Claudine Langille - mandolin, tenor banjo
• Billy Oskay - fiddler, recording engineer, Night NOise
• Johnny "Ringo" McDonagh - bodhran, De Dannan
• Tommy Peoples - fiddler
• Alisdair Frasier - fiddler

Bluegrass

• Stuart Duncan - Nashville session player
• Jason Carter - fiddler, Travelin' McCoury's
• Scotty Stoneman - fiddler, The Kentucky Colonels
• Vassar Clemens - fiddler, Old and In The Way
• Richard Greene - fiddler, Mule Skinner
• Darol Anger - fiddler, the David Grisman Quintet

Classical

• Isaac Stern - concert violinist
• Yehudi Menuhin - concert violinist
• Pablo Casals - cellist and conductor
• Jacqueline du Pré - concert cellist
• Isaac Perlman - concert violinist
• Michael Tree - violist, Guarneri Quartet

Balkan/Klezmer

• Alicia Svigals - fiddler, Klezmatics
• Jascha Heifetz - violinist
• Baron Menuhin
• Kenny Kosek
• Daniel Hoffman - fiddler, Klez-X

Mandolin Chord Chart and Suggestions for Learning Chords

mandolin chords

MANDOLIN CHORD SUGGESTIONS FOR LEARNING

Chords are made from arpeggios, which come from scales.  I've talked before about the 7 "Church" modes, or Canonical Modes as they are also called: Ionian, Dorian, Phrygian, Lydian, Mixolydian, Aeolian and Locrian.   Of those modes, the most commonly used are Ionian (Major) and Aeolian (Relative Minor).  The intervals of the Ionian (Major) mode are R,W,W,H,W,W,W,H R=Root, W=Whole, H=Half.  The intervals of the Aeolian (Relative Minor) mode (starting on the 6th note of the Major scale), are R,W,H,W,W,H,WW.  If you assign each interval with a number, then the notes of the scales will be 1,2,3,4,5,6,7,8 with 8 (the octave) being a repeat of 1 (the tonic or first note).  The notes of the arpeggio will always be 1,3,5,8 - regardless of the notes of the scale, or the mode.  

For example:

G Ionian (Major): G,B,D,G

G Aeolian (Relative Minor): E,G,B,E

Using the example above for the key of G, you want to make up your chord with any of the above notes: G,B,D,G for the Major and E,G,B,E for the Relative Minor.

OPEN CHORDS VS CLOSED CHORDS

One of the advantages of the mandolin is that it can be played like a percussion instrument in addition to providing melody and harmony.  The mandolinist has to decide what he/she wants to provide in the way of accompaniment.  If the mandolinist wants a short percussive sound (called a "chop" in bluegrass vernacular), then he/she has to use "closed chords".  Closed chords indicates a finger on each string, "closing" the ringing of the strings.  Every mandolinist has to learn the "Big G", which uses all 4 fingers with fingers on the B (a string), G (e string), G (d string), D (g string).  This is a "closed chord" because all of the strings are "closed" by a finger.  If the mandolinist wants a sound that rings (like a harp, for example), then he/she will play "open chords".  Open chords have one or more string pairs untouched by fingers allowing them to ring when struck by the pick.  Using the G example, a good open G is B (a string), and G (e string), open D and open G.

Typical styles of music that use open or closed chords are:

• Celtic: open
• Bluegrass: closed
• Folk: either
• Country: closed
• Klezmer: open

I hope this is helpful, here's the video:

Looking for Participants in the Bluegrass Group Class: Fridays from 7-9pm

Maple Ridge Bluegrass Band

Bluegrass music is a form of American roots music named after Kentucky mandolin player and songwriter Bill Monroe's band, the Bluegrass Boys 1939-96, and furthered by musicians who played with him, including 5-string banjo player Earl Scruggs and guitarist Lester Flatt, or who simply admired the high-energy instrumental and vocal music Monroe's group created, and carried it on into new bands, some of which created subgenres. Bluegrass is influenced by the music of Appalachia and other styles, including gospel and jazz. Appalachian music itself has mixed roots in Irish, Scottish and English traditional music, and was also later influenced by the music of African-Americans through incorporation of jazz and blues elements.

Stylistic origins:
English folk, Scottish folk, Irish folk, Appalachian music, old-time music, African-American music, string bands, blues, jazz

Cultural origins:
c. 1945, United States

Typical instruments:
Fiddle (violin), mandolin, 5 string (Scruggs-style) banjo, acoustic guitar, Dobro, double bass

About the Group Class:
Because we get our music mostly from books or downloaded off the internet, students should be able to sight-read music, and know the basics of music theory including counting various meters, playing chords and harmonizing.  If you would like to learn more about these subjects, register for private lessons.

The class meets Fridays from 7-9pm in Granby, MA.  The group decides what Bluegrass music it wants to learn, votes on the new material, and works on approximately 10-15 new tunes/melodies per semester.  A semester is approximately 3 months.

Once the group is comfortable with the "new" set, arrangements are made to put on a free concert at any local venue that allows free use.  Venues included are The Holyoke Rehab Center (on Rte 141), The Hobbit House (inside Mill 180 Park in Easthampton), The Loomis Village (South Hadley), The Arbors (Amherst), The Soldier's Home (Holyoke), The South Hadley Library and the Granby Library. 

If you would like to join the Bluegrass Group, please contact us.  The cost is $20 per class for current private students in good standing.

The Monroe Brothers - 1932 to 1938

Birch, Charlie, and Bill Monroe 

The Monroe Brothers began as a trio of Birch, Charlie, and Bill Monroe on fiddle, guitar and mandolin respectively, performing square dance songs as well as traditional and gospel numbers.

In 1932, Bill and Charlie began touring professionally with the WLS touring company as dancers, appearing with the Hoosier Hot Shots and Red Foley among others, and in 1934 secured the sponsorship of the Texas Crystals Company, a manufacturer of laxatives. The association provided the Monroes with a steady stream of radio work for over a year until competing laxative maker Crazy Water Crystals took over sponsorship of the duo while they continued working on many of the same stations.

The radio appearances made the Monroe Brothers a popular live act, which prompted the interest of RCA to recording the two. In mid-February the Monroe Brothers made their first recordings for RCA's Bluebird imprint, and went on to wax 60 sides in the following two years.

Their music at this point was firmly within the brother duo tradition and exhibited only hints of the style Bill Monroe would later pioneer as the "Blue Grass Music". They were set apart from other harmony duos by Bill's piercing harmonies and mandolin leads, as well as the energy and often fast tempos of their performances.

The very use of the mandolin as a lead instrument would revolutionize its application in country music, as would Bill's unique fiddle-influenced style. It would be silly to label them the "rock & roll of the '30s," but certainly there was an excitement and an edge to their music that put them on the frontier of hillbilly innovation in their day.

Charlie Monroe & The Kentucky Pardners

In early 1938, Bill and Charlie parted ways due to personality conflicts and business disagreements, and each formed his own band shortly thereafter. Charlie formed a group called the Kentucky Pardners.

By 1941 (after a short stint with a band called the Kentuckians and an abortive attempt at recreating the Monroe Brothers sound with partner Cleo Davis) Bill Monroe was recording again for RCA with a band he named the Blue Grass Boys.

In this new group, Monroe built upon his earlier innovations and developed the distinctive and enduring style that came to be known as bluegrass after Lester Flatt (guitar) and Earl Scruggs (5 string banjo) joined.

Why Did You Wander - 1946 Bill Monroe's
Blue Grass Boys with Lester Flatt, Earl Scruggs

Looking for Bands that want to make money!

I'm on the lookout for awesome bluegrass, celtic/irish, klezmer, folk, blues and psychedelic rock bands.

If you or someone you know plays in a band, put them in touch with me!

Thanks!

The Difference between Bluegrass, Old Time and Celtic bands, now finally explained! (humor)

Old Time and Celtic songs are about whiskey, food and struggle. Bluegrass songs are about God, mother and the girl who did me wrong. If the girl isn’t dead by the third verse, it ain’t Bluegrass. If everyone dies, it’s Celtic. The Bluegrass fiddler paid $10,000 for his fiddle at the Violin Shop in Nashville. The Celtic fiddler inherited his from his mothers 2nd cousin in County Clare. The Old Time fiddler got theirs for $15 at a yard sale.” ~ The National Folk Festival of Australia

The Music

Old Time and Celtic songs are about whiskey, food and struggle. Bluegrass songs are about God, mother and the girl who did me wrong. If the girl isn’t dead by the third verse, it ain’t Bluegrass. If everyone dies, it’s Celtic.

Old Time and Celtic bands have nonsense names like “Flogging Molly’, “Fruit Jar Drinkers’ and “Skillet Lickers” while Bluegrass bands have serious gender-specific name like “Bluegrass Boys,’ “Clinch Mountain Boys’ and ”Backwoods Babes.”

The most common Old Time keys are major and minor with only 5 notes (modal). Bluegrass uses these, plus Mixolydian and Dorian modes, and a Celtic band adds Lydian and Phrygian modes.
A Bluegrass band has between 1 and 3 singers who are all singing about an octave above their natural vocal range. Some Old Time and Celtic bands have no singers at all. If a Celtic band has a singer, it is usually either a bewhiskered ex-sailor, or a petite soprano. A Bluegrass band has a vocal arranger who arranges three-part harmonies. In an Old Time band, anyone who feels like it can sing or make comments during the performance.

In a Celtic band, anyone who speaks during a performance gets “the look’, and songs are preceded by a call for silence and a detailed explanation of their cultural significance. Bluegrass tunes & songs last 3 minutes. Old Time and Celtic tunes & songs can be any length, and sometimes last all night.

The Instruments

Banjo
A Celtic banjo is small and quiet. An Old Time banjo is open-backed, with an old towel (probably never washed) stuffed in the back to dampen sound. A Bluegrass banjo has bell bronze mastertone tone ring and a resonator to make it louder.

A Celtic banjo weighs 4 pounds, an Old Time banjo weighs 5 pounds, towel included and a Bluegrass banjo weighs 40 pounds. A Celtic banjo has only 4 strings. A Bluegrass banjo has five strings and needs 24 frets. An Old Time banjo needs no more than 5 frets, and some don’t need any. A Bluegrass banjo player has had spinal fusion surgery on all his vertebrae, and therefore stands very straight. If an Old Time banjo player stands, he slouches. A Celtic banjo player has a brace to relieve his carpal tunnel syndrome and remains seated to maintain stability while cross-picking as fast as possible after several pints. An Old Time banjo player can lose 3 right-hand fingers and 2 left-hand fingers in an industrial accident without affecting his performance. A Celtic banjo player flat picks everything. A Bluegrass banjo player puts jewelry on his fingertips to play. An Old Time banjo player puts super glue on his fingernails to strengthen them. Never shake hands with an Old Time banjo player while he’s fussing with his nails.

Fiddle
The Bluegrass fiddler paid $10,000 for his fiddle at the Violin Shop in Nashville. The Celtic fiddler inherited his fiddle from his mothers 2nd cousin in County Clare. The Old Time fiddler got theirs for $15 at a yard sale. Celtic and Bluegrass fiddles are tuned GDAE. An Old Time fiddle can be in a hundred different tunings. Old Time fiddlers seldom use more than two fingers of their left hand, and use tunings that maximize the number of open strings played. Celtic and Bluegrass fiddlers study 7th position fingering patterns with Isaac Stern, and take pride in never playing an open string. An Old Time fiddle player can make dogs howl & incapacitate people suffering from sciatic nerve damage. An Old Time fiddle player only uses 1/8 of his bow. The rest is just there for show.

Guitar
An Old Time guitarist knows the major chords in G and C, and owns a capo for A and D. A Bluegrass guitarist can play in E-flat without a capo. The fanciest chord an Old Time guitarist needs is an A to insert between the G and the D7 chord. A Bluegrass or Celtic guitarist needs to know C#aug+7-4. A Celtic guitarist keeps his picks in his pocket. Old Time guitarists stash extra picks under a rubber band around the top of the peg head. Bluegrass guitarists would never cover any part of the peg head that might obscure the gilded label of their $3,000 guitar.

Mandolin
It’s possible to have an Old Time or Celtic band without a mandolin. However, it is impossible to have a true Bluegrass band without one. Mandolin players spend half their time tuning their mandolin and the other half of their time playing their mandolin out of tune. Old Time and Celtic mandolin players use ”A’ model instruments (pear-shaped) by obscure makers. Bluegrass mandolin players use “F’ model Gibsons that cost $100 per decibel.

Bass
A Celtic band never has a bass, while a Bluegrass band always has a bass. An old, Old Time band doesn’t have a bass, but new time Old Time bands seem to need one for reasons that are unclear. A Bluegrass bass starts playing with the band on the first note. An Old Time bass, if present, starts sometime after the rest of the band has run through the tune once depending on the player’s blood alcohol content. A Bluegrass bass is polished and shiny. An Old Time bass is often used as yard furniture.

Other Instruments
It is not possible to have a Celtic band without a tin whistle or Bodhran(hand drum) if not several, usually too many of each. Old Time and Bluegrass bands never have either. A Bluegrass band might have a Dobro. An Old Time band might have anything that makes noise including: a tambourine, jaw harp, didgeridoo, harmonica, conga, wash tub bass, miscellaneous rattles &shakers, a 1-gallon jug (empty), or a lap (mountain) dulcimer or a hammered dulcimer. In a Celtic band, it’s the musicians that are hammered.

Instrumentation
Except for the guitar, all the instruments in a Celtic band play the melody all the time. In an Old Time band, anyone can play either melody or accompaniment at any time. In Bluegrass bands, one instrument at a time solos, and every else plays accompaniment. Bluegrass bands have carefully mapped-out choreography due to the need for solo breaks. If Old Time and Celtic band members move around, they tend to run into each other. Because of this problem (and whiskey) Old Time and Celtic often sit down when performing, while a Bluegrass band always stands. Because they’re sitting, Old Time and Celtic bands have the stamina to play the same tune for 20 minutes for a square or contra dance. The audience claps after each Bluegrass solo break. If anyone talks or claps near an Old Time or Celtic band, it confuses them, even after the tune is over.
Personalities and Stage Presence

Bluegrass band members wear uniforms, such as blue polyester suits with gray Stetson hats. Old Time bands wear jeans, sandals, work shirts and caps from seed companies. Celtic bands wear tour tee-shirts with plaid touring caps. All this head wear covers bald spots. Women in Bluegrass bands have big hair and Kevlar undergarments. Women in Old Time bands jiggle nicely under their overalls. There are no Women in Celtic bands, only Lassies with long skirts and lacy, high collars and Wenches in apple-dumplings-on-a-shelf bodices and leather mini-skirts. A Bluegrass band tells terrible jokes while tuning. An Old Time band tells terrible jokes without bothering to tune. Bluegrass band members never smile. Old Time band members will smile if you give them a drink. A Celtic band is too busy drinking to smile, tune or tell jokes. Celtic musicians eat fish and chips, Bluegrass musicians eat barbecue ribs, and Old Time musicians eat tofu and miso soup. Bluegrass musicians have mild high frequency hearing loss from standing near the banjo player. Old Time musicians have moderate high frequency hearing loss from sitting near the fiddler. Celtic musicians have advanced hearing loss from playing in small pubs with all those fiddles, banjos, tin whistles and bodhrans.

Festivals and Transportation
A Celtic band travels in an actual Greyhound bus with marginal air conditioning and then catches a ride from the bus stop to the festival any way they can. A Bluegrass band travels in an old converted Greyhound bus that idles in the parking lot all weekend with the air conditioner running full blast, fumigating the county with diesel exhaust. An Old Time band travels in a rusted-out 1965 VW microbus that blows an engine in North Nowhere, Nebraska. They don’t have an Easy-Up, and it’s pretty evident that their vehicles don’t have air conditioning. Bluegrass players stay on the bus and Celtic musicians stay at the nearest Motel 6, while Old Time musicians camp in the parking lot. The Celtic Band has their name on their instrument cases and a banner for their Easy- Up. The bluegrass band’s name and Inspirational Statement are painted on both the side and front of the bus in script lettering. Bluegrass bumper stickers are in red, white and blue and have stars and/or stripes on them. Celtic bumper stickers display fancy knotwork borders, banners, and slogans from the old country. Old Time bumper stickers don’t make any sense (e.g. “Gid is My Co-Pilot’ )

SOURCES
The National Folk Festival of Australia
www.education.folkfestival.org.au

Hudson Valley Bluegrass Association
www.hvbluegrass.org

Pete’s Place
www.bluegrasswest.com

Peter Feldmann
www.bluegrasswest.com/author

Western Mass Bluegrass!

Western Massachusetts has always been a great place for bluegrass music.  In the 1970s, there were the first bluegrass festivals: Berkshire Mountain Bluegrass Festival, Pickin In The Pines and Falcon Ridge.  Later, in the 1980s, the Iron Horse became a destination spot for bluegrass musicians that were touring through the area.  And all through the 1990s and early 2000s, bluegrass bands and fans have been keeping it real and live in the Pioneer Valley!

And we're doing our part!  Come to the Third Sunday Bluegrass Jam and Potluck Dinner!

Held the third Sunday of every month at the home of Emily and Adam R Sweet in South Hadley, MA.

It meets the Third Sunday of every month at 5pm. If the weather is nice, we are outside in back (either on the porch or on the grass under the trees). If the weather is not so nice, we are upstairs in the studio. Take the stairs to the left of the garage and go in the door at the top. There's limited space, so first come first served and all that!

It's an open jam, which means anyone can come, regardless of age and ability. If you just want to sit in back and listen, you are welcome also.

Please bring an entree or a salad. We'll provide dessert and beverages. BYOB and clean up your bottles after please.

To RSVP and get directions, visit Adam's website: www.adamrsweet.com and use the form on the contact page, or just email adamrsweet@gmail.com any time!