Jake Workman Wins State of TX Banjo and Flatpicking Awards!
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Competition Rules and Regulations (Updated September 2019)
Competition Rules and Regulations (Updated September 2019) Category Guidelines: YOUTH - 15 and under ADULT - 16 and up Youth are open to perform in adult categories. Adults not permitted, other than as an accompanist, in youth categories. Categories include Fiddle, Banjo, Flatpick Guitar, Mandolin, Band, and Miscellaneous Instrumental Guidelines: 1. Fiddle - Contest is for traditional four string (five string is acceptable but not ideal), acoustic fiddles only. Standards such as “Listen to the Mockingbird,” “Orange Blossom Special,” or “Black Mountain Rag” are strongly discouraged. 2. Banjo - 4 and/or 5 string acoustic banjos okay. Standards such as “Foggy Mountain Breakdown,” “John Hardy,” and “Dueling Banjos” are strongly discouraged. 3. Guitar - Acoustic Steel String Guitars only 4. Mandolin - Acoustic Mandolins 5. Bass - Acoustic and/or electric basses allowed 6. Band - Must consist of a minimum 3 members. Band contestants are only allowed to compete in ONE band. Same song restrictions apply. 7. Miscellaneous - Any instrument not covered above, that is a part of the “bluegrass/old-time music family” - such as resonator guitar, finger-style guitar, spoons, jaw harp, mandola, bouzouki, accordion, other stringed instruments such as cello and viola. NO DRUMS NO SIX-STRING BANJO/GUITJOS Registration Guidelines 1. Contestants MUST sign in upon arrival at the judges table. 2. No contestant is allowed to register after a category is completed. 3. Judges are not permitted to enter or perform in any category. 4. Contestants must be ready and available to perform when their category is called. Failure to do so may result in disqualification. 5. Tuning, warm-up, rehearsal, or any other audible actions MUST be done away from the stage, active competitor, and convention audience. -
Flatpicking Guitar Magazine Index of Reviews
Flatpicking Guitar Magazine Index of Reviews All reviews of flatpicking CDs, DVDs, Videos, Books, Guitar Gear and Accessories, Guitars, and books that have appeared in Flatpicking Guitar Magazine are shown in this index. CDs (Listed Alphabetically by artists last name - except for European Gypsy Jazz CD reviews, which can all be found in Volume 6, Number 3, starting on page 72): Brandon Adams, Hardest Kind of Memories, Volume 12, Number 3, page 68 Dale Adkins (with Tacoma), Out of the Blue, Volume 1, Number 2, page 59 Dale Adkins (with Front Line), Mansions of Kings, Volume 7, Number 2, page 80 Steve Alexander, Acoustic Flatpick Guitar, Volume 12, Number 4, page 69 Travis Alltop, Two Different Worlds, Volume 3, Number 2, page 61 Matthew Arcara, Matthew Arcara, Volume 7, Number 2, page 74 Jef Autry, Bluegrass ‘98, Volume 2, Number 6, page 63 Jeff Autry, Foothills, Volume 3, Number 4, page 65 Butch Baldassari, New Classics for Bluegrass Mandolin, Volume 3, Number 3, page 67 William Bay: Acoustic Guitar Portraits, Volume 15, Number 6, page 65 Richard Bennett, Walking Down the Line, Volume 2, Number 2, page 58 Richard Bennett, A Long Lonesome Time, Volume 3, Number 2, page 64 Richard Bennett (with Auldridge and Gaudreau), This Old Town, Volume 4, Number 4, page 70 Richard Bennett (with Auldridge and Gaudreau), Blue Lonesome Wind, Volume 5, Number 6, page 75 Gonzalo Bergara, Portena Soledad, Volume 13, Number 2, page 67 Greg Blake with Jeff Scroggins & Colorado, Volume 17, Number 2, page 58 Norman Blake (with Tut Taylor), Flatpickin’ in the -
THE MUSICAL FEATURES of 2015'S TOP-RANKED COUNTRY SONGS
THE MUSICAL FEATURES OF 2015’s TOP-RANKED COUNTRY SONGS By Mason Taylor Allen Senior Honors Thesis Department of Music University of North Carolina at Chapel Hill April 22, 2016 Approved: Dr. Jocelyn R. Neal, Thesis Advisor Dr. Allen Anderson, Reader Dr. Andrea Bohlman, Reader © 2016 Mason Taylor Allen ALL RIGHTS RESERVED ii ABSTRACT Mason Taylor Allen: The Musical Features of 2015’s Top-Ranked Country Songs Under the direction of Dr. Jocelyn R. Neal The 2015 top-ten country songs analyzed in this study are characterized by the various formats of their song form, harmonies, and lyrics. This thesis presents a comprehensive study of the structure and narratives in sixty-seven songs that summarizes the distinctive features within those domains of contemporary commercial country music. A detailed description of the norm along with identifiable trends emerges. The song form that features most prominently in this repertory includes a verse-chorus-bridge form with three iterations of the chorus, an intro and outro section, and instrumental sections immediately following each chorus. The top-ten country songs have varying degrees of departure from this typical model. Primary features of the harmonies of these top songs include the frequent use of a double-tonic complex, the absence of a 5-1 authentic cadence, the same chord progression throughout the verse, chorus, and bridge, and the use of only two chords throughout the song. Lyrical analyses show that 2015 songs are continuing the traditional themes about romantic attraction, love, heartache, good times and partying, home, family, nostalgia, religion, and inspiration, within the context of small-town country life that this genre has used for years. -
Ron Block Hogan's House of Music Liner Notes Smartville (Ron Block
Ron Block Hogan’s House of Music Liner Notes Smartville (Ron Block, Moonlight Canyon Publishing, BMI) Barry Bales - bass Ron Block - banjo, rhythm and lead guitar Tim Crouch - fiddle Jerry Douglas - Dobro Stuart Duncan – fiddle Clay Hess - rhythm guitar Adam Steffey – mandolin Hogan’s House of Boogie (Ron Block, Moonlight Canyon Publishing, BMI) Ron Block – banjo, rhythm and lead guitar Sam Bush - mandolin Jerry Douglas – Dobro Byron House - bass Dan Tyminski – rhythm guitar Lynn Williams – snare Wolves A-Howling (Traditional) Barry Bales - bass Ron Block - banjo Stuart Duncan - fiddle Adam Steffey - mandolin Dan Tyminski - rhythm guitar The Spotted Pony (Traditional, arr. Ron Block, Moonlight Canyon Publishing, BMI) Barry Bales - bass Ron Block - banjo, rhythm and lead guitar Stuart Duncan – fiddle Sierra Hull – octave mandolin Alison Krauss - fiddle Adam Steffey – mandolin Dan Tyminski - rhythm guitar Lynn Williams – snare Clinch Mountain Backstep (Ralph Stanley) Barry Bales - bass Ron Block - banjo, rhythm and lead guitar Stuart Duncan – fiddle Clay Hess - rhythm guitar Adam Steffey – mandolin Gentle Annie (Stephen Foster) Ron Block – banjo, guitar Tim Crouch – fiddles, cello, bowed bass Mark Fain - bass Sierra Hull – octave mandolins Mooney Flat Road (Ron Block, Moonlight Canyon Publishing, BMI) Barry Bales - bass Ron Block - banjo, rhythm and lead guitar Stuart Duncan – fiddle Sierra Hull – octave mandolin Alison Krauss - fiddle Adam Steffey – mandolin Jeff Taylor - accordion Dan Tyminski - rhythm guitar Lynn Williams – snare Mollie -
Jack Pearson
$6.00 Magazine Volume 16, Number 2 January/February 2012 Jack Pearson Al Smith Nick DiSebastian Schenk Guitars 1 Flatpicking Guitar Magazine January/February 2012 design by [email protected] by “I am very picky about the strings I use on my Kendrick Custom Guitar, and GHS gives me unbeatable tone in a very long lasting string.” GHS Corporation / 2813 Wilber Avenue / Battle Creek . Michigan 49015 / 800 388 4447 2 Flatpicking Guitar Magazine January/February 2012 Block off February 23 thru the 26th!! Get directions to the Hyatt Regency in Bellevue, WA. Make hotel & travel arrangements. Purchase tickets for shows and workshops! Practice Jamming!! Get new strings! Bookmark wintergrass.com for more information! Tell my friends about who’s performing: Ricky Skaggs & Kentucky Thunder Tim O’Brien, The Wilders, The Grascals, The Hillbenders, Anderson Family Bluegrass and more!!! Practice Jamming!!!!! wintergrass.com 3 Flatpicking Guitar Magazine January/February 2012 Feb 23-26th 4 Flatpicking Guitar Magazine January/February 2012 1 Flatpicking Guitar Magazine January/February 2012 CONTENTS Flatpicking FEATURES Jack Pearson & “Blackberry Pickin’” 6 Guitar Schenk Guitars 25 Flatpick Profile: Al Smith & “Take This Hammer” 30 Magazine CD Highlight: Nick DiSebastian: “Snowday” 58 The Nashville Number System: Part 2 63 Volume 16, Number 2 COLUMNS January/February 2012 Bluegrass Rhythm Guitar: Homer Haynes 15 Published bi-monthly by: Joe Carr High View Publications Beginner’s Page: “I Saw the Light” 18 P.O. Box 2160 Dan Huckabee Pulaski, VA 24301 -
Hit & Run Bio 2014
2009 International Bluegrass Music Association "Recorded Event of the Year" Winner (Rebecca Frazier, Daughters of Bluegrass) 2006 First woman on cover of Flatpicking Guitar Magazine (Rebecca Frazier) 2005 International Bluegrass Music Association Showcase Artist First Place, 2005 SPBGMA International Band Championship (Nashville, TN) First Place, 2003 Telluride Bluegrass Festival Band Contest (Telluride, CO) First Place, 2002 Rockygrass Band Contest (Lyons, CO) Rebecca Frazier gained notoriety as the first woman on the cover of Flatpicking Guitar Magazine. With over a decade of touring under her belt, Frazier has returned to the national stage with her flatpicking and songwriting showcase, “When We Fall,” and her new affiliation with Compass Records. In 2013, Rebecca Frazier and Hit & Run have continued to delight audiences across the country with the “handspun yet motor-driven” music that earned Hit & Run their reputation as “one of the tightest groups performing.” They are the only band to win the top triumvirate of major bluegrass band contests at the Telluride, Rockygrass, and SPBGMA Festival Band Championships. Hit & Run formed in late 2001 with the mutual desire to play “authentic yet modern” bluegrass. They quickly launched themselves as a successful touring act out of Colorado, gracing stages of prestigious festivals and venues in 36 states and Canada and eventually migrating to Nashville in 2007 with two studio albums under their belts. Since 2002, Hit & Run has shared stages with the likes of Jimmy Martin, Hot Rize, Rhonda Vincent, Jerry Douglas, Sam Bush, Del McCoury, David Grisman, Ricky Skaggs, Creedence Clearwater Revisited, G. Love & Special Sauce, Galactic, Medeski Martin & Wood, and many other recognized acts bluegrass and popular music. -
WEDNESDAY 7.25 DREAMING CREEK MAIN STAGE STREAMLINE STAGE at HILL HOLLER PINK FLOYD GARDEN STAGE FERRUM WORKSHOP PORCH V
DREAMING CREEK STREAMLINE STAGE PINK FLOYD FERRUM WORKSHOP MAIN FIELD THROWDOWN FOREVER WEDNESDAY VIP STAGE 7.25 MAIN STAGE at HILL HOLLER GARDEN STAGE PORCH LIBATIONS TENT STAGE YOUNG STAGE Wed. 4:00 PM :15 :30 :45 Wed. 5:00 PM :15 Willie DE Band (OTR) :30 5:00-6:15pm :45 (OtR) Garden Wed. 6:00 PM :15 6:00-7:00pm :30 Mad Iguanas :45 Wed. 7:00 PM :15 TBD (OTR) :30 7:00-8:15pm :45 Garden The National Reserve Wed. 8:00 PM 7:30-9:00pm :15 VIP Welcome Party 8:00-9:00pm :30 GOTE :45 Wed. 9:00 PM :15 Dharma Bombs :30 9:00-10:15pm Garden :45 9:30-10:45pm Wed. 10:00 PM The Jam :15 :30 :45 Wed. 11:00 PM South Hill Banks :15 10:45pm-Midnight :30 Garden :45 Wed. 12:00 AM DREAMING CREEK STREAMLINE STAGE PINK FLOYD FERRUM WORKSHOP MAIN FIELD THROWDOWN FOREVER THURSDAY 7.26 VIP STAGE MAIN STAGE at HILL HOLLER GARDEN STAGE PORCH LIBATIONS TENT STAGE YOUNG STAGE Thu. 9:00 AM :15 :30 :45 Thu. 10:00 AM :15 :30 :45 Thu. 11:00 AM :15 :30 :45 Thu. 12:00 PM :15 :30 :45 Lindsay Lou Thu. 1:00 PM 12:45-1:45pm :15 Garden :30 :45 Thu. 2:00 PM :15 Blue Mule :30 The Change 2:15-3:15pm TBD (OtR) Mad Iguanas Willie DE Band (OtR) 2:00-3:00pm :45 Hill Holler 2:30-3:15ppm 2:30-3:15ppm 2:30-3:30pm VIP Libations Thu. -
Ronald Dean Rice- Audiophile, Musician & Engineer
Ronald Dean Rice- Audiophile, Musician & Engineer Anyone who thought there were only three Rice Brothers is encouraged to study bluegrass history. Ron Rice grew up playing acoustic bass and performing with his three brothers, Larry, Tony and Wyatt. He’s the third youngest of the four and is now retired from a long career in power generation. While proud of the family’s musical heritage and impact, Rice is a highly talented, yet modest man who has created his own path. Currently living with his wife Terry in Falls Church, VA, his story is an important piece of bluegrass music history. Rice was born in Lynwood, California on February 22, 1955 to Herbert H. and Dorothy L. Rice, with his namesakes being Reagan and Martin. The Rice family resided in the suburbs of Los Angeles until the summer of ’65 then moved considerably along the east coast, as Dad Herb was in construction. Rice started playing the bass at age six with his brothers Larry playing mandolin, Tony playing guitar and Andy Evans playing banjo. This band was known as the Haphazards. Rice notes, “We played a lot of local bluegrass gigs around the Los Angeles area, amusement parks, auditoriums, coffee houses and pizza parlors. Other shows we played in the early sixties were more folk related, back in the Hootenanny days. I remember being back stage with and playing on the same bill as Peter, Paul and Mary, the Kingston Trio, and the Stoneman Family just to mention a few.” Rounder Records-The Rice Brothers 1 (1989) and The Rice Brothers 2 (1994) Rice recalls that the exact origin of the first Rice Brothers project remains something of a mystery. -
The Lubbock Texas Quartet and Odis 'Pop' Echols
24 TheThe LubbockLubbock TexasTexas QuartetQuartet andand OdisOdis “Pop”“Pop” Echols:Echols: Promoting Southern Gospel Music on the High Plains of Texas Curtis L. Peoples The Original Stamps Quartet: Palmer Wheeler, Roy Wheeler, Dwight Brock, Odis Echols, and Frank Stamps. Courtesy of Crossroads of Music Archive, Southwest Collection/Special Collections Library, Texas Tech University, Lubbock, Texas, Echols Family Collection, A Diverse forms of religious music have always been important to the cultural fabric of the Lone Star State. In both black and white communities, gospel music has been an influential genre in which many musicians received some of their earliest musical training. Likewise, many Texans have played a significant role in shaping the national and international gospel music scenes. Despite the importance of gospel music in Texas, little scholarly attention has been devoted to this popular genre. Through the years, gospel has seen stylistic changes and the 25 development of subgenres. This article focuses on the subgenre of Southern gospel music, also commonly known as quartet music. While it is primarily an Anglo style of music, Southern gospel influences are multicultural. Southern gospel is performed over a wide geographic area, especially in the American South and Southwest, although this study looks specifically at developments in Northwest Texas during the early twentieth century. Organized efforts to promote Southern gospel began in 1910 when James D. Vaughn established a traveling quartet to help sell his songbooks.1 The songbooks were written with shape-notes, part of a religious singing method based on symbols rather than traditional musical notation. In addition to performing, gospel quartets often taught music in peripatetic singing schools using the shape-note method. -
FEBRUARY 21-27, 2013 ------Cover Story • Fort Wayne Home and Garden Show------It Must Be (Nearly) Spring Thursday, Feb
FEBRUARY 21-27, 2013 --------------- Cover Story • Fort Wayne Home and Garden Show -------------- It Must Be (Nearly) Spring Thursday, Feb. 21 • 7:00pm • Free By Mark Hunter edy Balloon & Face Art. Their fantastic terior and exterior zones spring up all the balloon sculptures will decorate various ar- time. On hand to lend a hand in figuring out WBOI MEET THE MUSIC Punxsutawney Phil gave us all a little eas throughout the show, while one-on-one what works best for a given situation will hope this past Groundhog Day when the ce- interaction with fans will take place in the be exhibitors specializing in alternative en- lebrity rodent failed to see his shadow. And “Old McDonald’s Farm” kids’ area. Kids ergy products, health and wellness, kitchen LIVE BROADCAST so it was written at 7:28 a.m. that cloudy can also delight in the presentations by In- and bath remodeling, fencing, windows and day in western Pennsylvania, that people in diana Wild, Science Central, Fort Wayne doors, water treatment, roofing, gardening, Friday, Feb. 22 • 8:00pm • $5 Northeastern Indiana will be able to get their rakes HOUSE OF BREAD, and shovels out early this year and finally get HEAVEN’S GATEWAY DRUGS that home improvement or garden project under- & THE DEAD RECORDS way. But as everyone who has ever tackled the daunting task of remod- eling a house or trans- forming a boring hunk of lawn into a verdant wa- ter garden with koi and rocks and ferns already knows, there is a lot of Saturday, Feb. 23 • 8:00pm brain work to be done before the back work can begin. -
NATIONAL SCHOOL TRANSPORTATION SPECIFICATIONS and PROCEDURES
NATIONAL SCHOOL TRANSPORTATION SPECIFICATIONS and PROCEDURES 2005 Revised Edition Adopted by: THE FOURTEENTH NATIONAL CONGRESS ON SCHOOL TRANSPORTATION Central Missouri State University Warrensburg, Missouri May 15-19, 2005 Co-Sponsored by: National Association of State Directors of Pupil Transportation Services National Association for Pupil Transportation National School Transportation Association School Transportation Section, National Safety Council School Bus Manufacturers Technical Council Missouri Safety Center, Central Missouri State University This publication is available from: Missouri Safety Center Central Missouri State University Humphreys Suite 201 Warrensburg, MO 64093 Phone: (660) 543-4830 Fax: (660) 543-4482 iii iv v Infants / Toddlers and Pre-school Children ..................................................................................165 Transportation Services for Pre-school Children with Disabilities .................................168 vi vii viii FOREWORD The 2005 National Congress on School Transportation was the latest in a series beginning in 1939 and continuing in 1945, 1948, 1951, 1954, 1959, 1964, 1970, 1980, 1985, 1990, 1995 and 2000. All congresses (referred to as “conferences” before 2005) have been made up of offi cial representatives of state departments of education, public safety, motor vehicles, and police or other state agencies having state-wide responsibilities for the administration of student transportation; local school district personnel; contract operators; advisors from industry; and representatives from other interested professional organizations and groups. Each conference has resulted in one or more publications that contain the recommendations of that particular conference. The recommendation of specifi cations and procedures for school buses and their operation has been a major purpose of all conferences. The 1939 Conference was called for this sole purpose and formulated a set of recommended standards for school buses of 20 or more passengers. -
Floydfest Partnership Package
FloydFest Partnership Package 888-VA-FESTS | FloydFest.com [email protected] Who Is AtWP? Across the Way Productions, Inc. creates, designs and executes one-of-a-kind LIVE events. Dedicated to providing a unique experience for each and every attendee. AtWP is excited to present in 2019 the nationally accredited FloydFest Music and Arts Festival, dubbed “FloydFest 19~Voyage Home.” We are five days of music, magic and mountains, featuring outdoor adventures, vibrant and varied vendors, quality brews and chews, healing arts, workshops and whimsy, children's activities, art installations, and a lineup featuring more than 100 artists on eight+ stages. Website: FloydFest.com Facebook: facebook.com/FloydFestVA Twitter: twitter.com/floydfest Instagram: instagram.com/floydfestva With two decades of success conceptualizing and implementing unique outdoor events, AtWP is a forerunner in the field of event management. “Our mission is to be the best music festival experience of our time. To sell a limited quantity of tickets to the highest quality event experience, bar none, celebrating music, art and life in an intimate, visually stunning environment; and to embody our values day-to-day within the organization, balancing relaxed style and a chill authenticity with detail orientation and high-quality work standards.” History of FloydFest FloydFest was conceived by musician, promoter, and co-founder Kris Hodges, and began as a love for all of the best that live entertainment could offer. Hodges’ passion for deep roots music led him from Virginia, where he performed music across the mid- Atlantic in high school, to studying Music Business at the Atlanta Art Institute and at the University of GA.