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(The) Bluegrass

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(The) Bluegrass Welcome to (the) Bluegrass: An Introduction to the Music of Kentucky-Growth, Trends, Therapeutic Use Cheryl Benze, MME, MT-BC, Creative Arts Clinical Coordinator, University of Kentucky Healthcare Lexington, Kentucky The Bluegrass: Region of Central Kentucky where the lush grass appears blue due to nutrients in lime rich soil. Good for horses and good for bourbon Bluegrass: a subset of Country/Traditional music founded by Kentuckian Bill Monroe I. Development of Bluegrass Music a. Developed in the 1940s b. Elements of English and Scottish folk music c. Influences of African-American music: Jazz and blues d. Originally used to accompany dancing (clogging, flatfooting) e. Called “hillbilly” or mountain music until placed in Country/Western genre for radio air play f. Made more popular for listening by radio g. Bill Monroe formed Blue Grass Boys in 1939 h. Stanley Brothers important in developing style II. Characteristics of Bluegrass a. Style i. Instrumental Style ii. Strophic – chorus and verses iii. Simple repetitive melodies; simple harmonic structure iv. Emphasis on off-beat (chop chords) v. Notes anticipated, not dragged vi. Slap style alternating bass vii. Improvisations and alternating solos (Breakdowns) viii. Rapid tempo and instrumental dexterity 1. Foggy Mountain Breakdown ix. Ballads – slow, mournful, often in ¾ time 1. Footprints in the Snow 2. Blue Moon of Kentucky b. Instrumentation i. Rural Dance Bands ii. Acoustic (different from Country) 1. Banjo (defines Bluegrass) 2. Guitar 3. Mandolin (because Bill Monroe played Mandolin) 4. Fiddle 5. Stand-up Bass 6. Resonator Guitar (Dobro) (sometimes) 1 Cheryl H. Benze, MT-BC 2021 SER-AMTA Conference c. Vocals i. Higher Keys for singing ii. High nasal tenor melody, the “High Lonesome” iii. Close, “stacked” harmony 1. Baritone, Lead, Tenor (Baritone doubled at the octave) 2. Female voices octave above tenor or baritone d. Themes i. Loss, Grief ii. Hard Times iii. Faith; Comfort of Heaven iv. Interpersonal tensions (unrequited love, betrayal) v. Unwanted changes to region/environment vi. Railroading e. Performers and Icons i. Bill Monroe (Mandolin) 1. Ricky Skaggs 2. Marty Stuart ii. Earl Scruggs (Banjo: 3-finger “Pick and Roll” style) 1. Flatt and Scruggs; Earl Scruggs Revue iii. Ralph Stanley (Banjo) 1. Stanley Brothers and the Clinch Mountain Boys iv. Jim and Jessy v. Osbourne Brothers vi. Stonemans 1. Patti Stoneman – guitar 2. Donna Stoneman – mandolin 3. Roni Stoneman - banjo vii. Del McCoury and McCoury Family viii. Alison Krauss (Fiddle) f. Current Performers i. Steep Canyon Rangers (Steve Martin) 1. Fiddle virtuoso Nicky Sanders ii. Balsam Ridge iii. Kruger Brothers iv. Jerry Douglas – Dobro v. Dan Tyminski (Dobro) and Union Station vi. Claire Lynch Band vii. Sister Sadie viii. Rhiannon Giddens 2 Cheryl H. Benze, MT-BC 2021 SER-AMTA Conference III. Implications for Therapeutic Use a. Improve mood and increase energy i. Sweet Baby’s ArmsNew River TrainKentucky Borderline b. Motivation for engagement & movement--strong beat; rhythmic movement c. Thematic identification and self-expression i. Song writing 1. Thinking tonight of My Blue Eyes ii. Lyric Analysis 1. On The Wings of a Snow White Dove iii. Coping 1. I’ll fly away IV. Women in Bluegrass a. Women traditionally played guitar, dulcimer but rarely outside home b. Early BG had some female singers i. In the band with husband, father, brother/family c. Supporting Role: Bass, guitar (not out in front) d. First women in Bluegrass i. Sally Ann Forrester-played accordion for BG Boys 1943-1946 ii. Bessie Lee Mauldin-bass player for BG Boys 1952-1960 iii. Jeanie West-first solo billing on BG album 1960 e. First female Band Leader i. Gloria Belle and Bluegrass Travelers 1967 f. Virtuosic players i. Donna Stoneman (mandolin) & Roni Stoneman (banjo) g. All Female Bands i. Bluegrass Liberation (1971) ii. Wildwood Girls (1976) iii. Petticoat Junction (1987) iv. Della Mae V. Current Leaders a. Alison Krauss 1986 (and Union Station) b. Rhonda Vincent and the Rage c. Claire Lynch and the Claire Lynch Band d. Alison Brown e. Rhiannon Giddens (Carolina Chocolate Drops) f. Sister Sadie (IBMA Entertainers of the Year 2020) g. Missy Raines h. Cathy Fink and Marcy Marxer i. Much growth in banjo, bass, guitar players – side and front players 3 Cheryl H. Benze, MT-BC 2021 SER-AMTA Conference VI. Future of Bluegrass: New Grass and POC a. Traditional Style with new sounds i. Symphonic instruments, electric/electronic, steel/resophonic b. Growth of participation of People of Color i. Exploration of banjo ii. Emphasis on blues and jazz origins iii. Recognition of contribution 1. Blind Boys of Alabama 2. Carolina Chocolate Drops 3. Victor Wooten (Bela Fleck & the Flecktones) c. Bluegrass Situation i. Shout and Shine performances at WOB ii. Amythyst Kiah iii. Kaia Kater iv. Rissi Palmer v. Jerron “Blind Boy” Paxton vi. Trey Wellington vii. Ebony Hillbillies d. Global i. Japan, Europe ii. Yola Carter (England) iii. Tete – France iv. Osei Essed, the Woes (Suriname) Resources Websites: International Bluegrass Music Association www.IBMA.org Bluegrass Music Hall of Fame & Museum www.bluegrasshall.org Bluegrass Unlimited www.bluegrassunlimited.com Bluegrass Today www.bluegrasstoday.com Bluegrass Situation www.thebluegrasssituation.com Videos and Movies Oh Brother Where Art Thou Big Family: The Story of Bluegrass (PBS documentary 2019) Books: Henry, Murphy Hicks. Pretty Good for a Girl: Women in Bluegrass, Urbana: University of Illinois Press, 2013. Ledgin, Stephanie. Homegrown Music, Westport, CT: Praeger Publishers, 2004. Roll in My Sweet Baby’s Arms – Lester Flatt 4 Cheryl H. Benze, MT-BC 2021 SER-AMTA Conference D Chorus: Roll in my Sweet Baby’s Arms A7 Roll in my Sweet Baby’s Arms D G Lay ‘round that shack till the mail train comes back A7 D Then I’ll Roll in my Sweet Baby’s Arms. D Sometimes there’s a change in the ocean A7 Sometimes there’s a change in the sea D G Sometimes there’s a change in my own true love A7 D But there’s never a change in me! Chorus Can’t see what’s the matter with my own true love, She done quite writing to me; She must think I don’t love her like I used to, Ain’t that a foolish idea! Chorus Mama’s a ginger cake baker, Sister can weave and can spin, Daddy’s got an interest in that old cotton mill Just watching the money roll in. Chorus They tell me that your parents do not like me; They have drove me away from your door; If I had all my time to do over again, I would never go there anymore. Chorus Now where was you last Friday night, While I was locked up in jail; Doing the town with another man Wouldn’t even go my bail. Chorus 5 Cheryl H. Benze, MT-BC 2021 SER-AMTA Conference I’m Thinkin’ tonight of my Blue Eyes – A.P. Carter Chorus: A D Oh, I'm thinking tonight of my blue eyes E A Who is sailing far over the sea A D Oh, I'm thinking tonight of my blue eyes E A And I wonder if he ever thinks of me [Verse 1] Would have been better for us both had we never In this wide and wicked world had never met For the pleasure we've both seen together I am sure, love, I'll never forget Chorus: [Verse 2] Oh, you told me once, dear, that you loved me You said that we never would part But a link in the chain has been broken Leaves me with a sad and aching heart Chorus: Song writing: I’m thinking ________________ of _________________________ Time what’s on your mind Who/That is ________________ ___________________________ Doing/saying action/thought I’m thinking _________________of ___________________________ And I wonder if ___________________________________________ Conclusion/result I’m thinking today of my chemo That is working its magic on my cells I’m thinking today of my chemo And I’m hoping that I won’t have any bad spells. 6 Cheryl H. Benze, MT-BC 2021 SER-AMTA Conference .
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