Please copy & share! am kills hecklist Lots more free instruction J S C Pfrom Pete Wernick at ... for bluegrass, folk and country jamming Note which skills you have and which you need! Please copy & share! Lots more free instruction P Essentials Learn these and you’re ready to jam from Pete Wernick at ... BGjam.com ___ Tune your instrument (using a tuner), quicker the better. Check tuning often! ___ Learn G, C, D, and A chords, fingering each string accurately, for clear sound (check by sounding each string individually, making sure it’s clear and not muted) Bass and fiddle players don’t make chords, but need to know which notes go with which chord. ___ Switch quickly between chords, with accurate fingering (with each switch, sound any problem string individually, making sure it’s clear, not muted) Practice these sequences: ___ G-D-G (most common) Wernick Method Classes ___ G-C-G ___ D-A-D ___ C-D-C ___ G-A-G (see below) require the skills in this ___ Change chords without looking, cleanly and quickly “Essentials” section and ___ Maintain a rhythm pattern while changing chords accurately teach the others! ___ Follow chord changes watching a guitar player (see other side) ___ Find a slow jam that uses only G, C, D, and A, or play along with a slow jam recording*

P Jamming is easier and better when you can...

___ Remember chord changes of a new song – which chords happen and when ___ Anticipate chord changes, to make them at exactly the right time ___ Sing a song while playing, with accurate chording and a consistent rhythm pattern ___ Play and sing a song straight through with no pauses or hesitations ___ Play and sing a song fluently from memory, not using a written version

P You can add a lot to a jam if you can...

___ Lead a song. Skills include knowing how to intro a song before playing (give key and chord changes to watch for), designate solos, ending, etc. ___ Fake an instrumental solo on the fly, following the chord changes, melody optional ___ Sing harmony ___ Know how to find jams and/or how to start one

*Bluegrass Slow Jam DVD Wernick Method Jam Classes for the Total Beginner ... teach bluegrass jam skills to novice and experienced players 17 standard songs, with just 4 alike, including ear skills, small group jamming and all the chords: G C D A shown on each instrument. Slow speeds! Chords ground rules and protocols taught. See BGjam.com and lyrics included. 39 more songs on 2 more DVDs, chances to solo on every song. The PERFECT Gentle tempos. Starter DVD for any instrument! At the STORE at BGjam.com Bluegrass Jamming Guitar Chords

Heavy line shows bass string with root note. Bluegrass rhythm alternates bass Main Chords for G (or D) note (“boom”) with strum (“chick”). G C

D A

1 chord 4 chord 5 chord If you can play these 4 chords, The main chords for G are: G C D try a Wernick Method class! The main chords for D: D G A For photos of more chords, incl. variants of G, C, F Free on BGjam.com see Chord Photos at BGjam.com. • Full list of upcoming classes Practice reading/following • What is the Wernick BLUEGRASS chords in real time! SONGBOOK Method? by Pete Wernick • List of 2-chord songs 140 classic songs! • Jam Skills Checklist Words, chords, • Bluegrass Jamming melodies in guitar/ Basics banjo tablature Slow Jam • List of Bluegrass The only book that teaches bluegrass singing! DVDs Jamming Favorites Sections on bluegrass harmony, transposing, G, C, D, and A are all you need • How to Find Jams etc., many tips from all-time greats: Monroe, • Stanley, Martin, Flatt, Rowan, etc. to play along with 17 standards Ask Doctor Banjo about Jamming on the Bluegrass Slow Jam DVD. • Photos of common guitar chords On sale in STORE at BGjam.com More info at BGjam.com. Bluegrass Jamming Basics By Pete Wernick Please copy and share! Three “Musts”:” Do these and you’re jamming! Lots more free instruction from Pete Wernick at... 1. Be in tune. Before starting and whenever in doubt, use a clip on tuner. BPleaseluegrass copyJ andamming share!.com 2. Be on the right chord. A. Learn the chord changes as quickly as possible. B. As necessary, watch the left hand of someone (usually a guitarist) who knows the chords. 3. Stay with the beat. Don’t rush, drag, or lose your place in the song.

• Jammers don’t read t elps f ou chords from a page. I H I Y : • Watch guitar chords, listen, and learn them. 1. Recognize common guitar chords by sight even if you don’t play guitar. 2. Know the traditional unspoken ground rules (see below). 3. Help with the singing. Know the verses to songs (or bring lyrics) and the chords in a good singing key. 4. Suggest songs easy enough for everyone to follow. Be aware of common denominator of ability when picking keys and tempos. 5. Know the basics of key transposing, such as when capos are used. Know the chord number system (1, 4, 5, etc.) 6. Help others be on the right chord, tuning, etc. 7. Watch your volume. A. Allow featured singer/soloist to be easily heard. If you can’t hear him/her, get quieter. B. When it’s your turn, make sure you’re heard. C. Be aware that your instrument (banjos especially) may not seem as loud to you as to someone who’s in front of it. 8. Give everyone a chance to shine. Be encouraging. Suggest songs that feature others.

Traditional Unspoken Ground Rules: These rules are used WORLDWIDE! 1. Whoever is singing lead or kicks off an instrumental usually leads the group through the song, signaling who takes instrumental solos (“breaks”) and when to end. 2. Typical arrangement formats: A. When there are few or no instrumental soloists, a singer can start by playing simple rhythm on the root chord (“Mac Wiseman Beginning”), let others come in, then sing until verses run out. Or the singer can give a solo to anyone willing, following format: B. On a song when some instruments can solo: This is how Break (“kickoff”), verse 1, chorus, most bluegrass songs work Break, verse 2, chorus, Break, verse 3, chorus — [optional: add solo(s) and final chorus] C. On instrumentals, the same person usually starts and ends, with solos going around in

a circle to those willing. Most common end: double “shave and a haircut” lick. contd.

BLUEGRASS SLOW JAM Bluegrass Jam Classes for the Total Beginner Learn real bluegrass... in your area, with people like you! Play along with an all-star band • Hands-on learning in large/small groups on 17 easy standards at slowest • Only four chords needed, G, C, D, and A possible speeds. Only four chords BLUEGRASS JAMMING • Ear skills taught and emphasized, as in real bluegrass used, and shown on all six INTERMEDIATE JAMMING • Understanding, low-pressure, Wernick-certified teachers bluegrass instruments! With 39 standards on 2 more DVDs, slow to • How to follow new songs, fake solos, lead songs, find ANYONE CAN chords and lyrics for all songs. moderate speeds, a chance to solo in each song! START — melodies, carry a tune, sing harmony. Gentle tempos! WITH THIS DVD BluegrassJamming.comBluegrassJamming.com luegrass amming asics (continued) Please copy and share! B J B Lots more free instruction from Pete Wernick at... Traditional Unspoken Ground Rules: BluegrassJamming.com 3. Regarding solos (“breaks”): A. Breaks for songs generally follow the melody and chords of a verse. B. At the beginning of a song, the song leader asks if someone can play BLUEGRASS SONGBOOK a kickoff break. Near end of each chorus, the song leader offers breaks by Pete Wernick C. Head and body language (nodding) are used to offer, accept/decline. 140 classic songs! Melodies in easy guitar/ D. If no one can solo, the singer just keeps singing verses and banjo tablature choruses to the end. The only book that teaches E. If there are more soloists than there are verses of the song, some bluegrass singing, including bluegrass harmony, and solos can be grouped together to give everyone a turn. Or the many tips from the all- singer can repeat verses to lengthen the song. time greats: Monroe, F. If there are more than enough spots for breaks, some soloists Stanley, Martin, etc. can take an extra turn. On sale in STORE at BGjam.com 4. If an instrumental soloist starts late, listen for whether the break is starting from the top or from a later point in the song. If you and others realize you seem to be at different points in the song, try to resolve it Help Bluegrass! Join IBMA at IBMA.org quickly, usually by falling in with the soloist, even if he/she is mistaken. – Tell ‘em Pete sent you. 5. When the lead singer doesn’t start a verse on time, keep playing the root chord and wait until the singer starts before going to the chord changes. 6. Sing harmonies on choruses only normally. Verses are sung solo. But in less advanced jams, people may sing along on choruses or verses, even if not singing a harmony. 7. Use signals to help everyone end together: Foot out, hold up instrument, end after “one last chorus” or repeat of last line. Listen for instrumental licks that signal ending.

Etiquette Stuff:

1. Some key participants may have main influence over the choice of songs and who gets to do what. Be respectful of the situation. Fit in as invited. Don’t be a “jambuster”. 2. Instrumentalists, be mindful of when others want to solo or do featured backup. Give them space and take turns being featured. Don’t compete! Carry extra tuner batteries 3. If someone is tuning by ear: First, offer your tuner. If no luck there, wait to tune and avoid any playing unless, to share! if welcomed (and you’re sure of your tuning), offer notes matching open strings of his/her instrument. 4. In more advanced jams, often the “classic” arrangement of a particular number is followed, including choice of key, which instrument solos when, harmony parts, etc. However, if the classic version is in a key that doesn’t work well for the lead singer, the singer calls the key and the others adapt. 5. If you don’t fit into one jam, look for another or start another, or just stay and listen. (Note if there are already enough of your instrument in the group, or if the speed or difficulty of the material is out of your league.) In some situations it’s OK to play quietly in an “outer circle”. 6. Pay attention and learn from experience. and enjoy yourself! Happy jamming!

Wernick Method Jam Classes

Held Nationwide!

BluegrassJamming.comBluegrassJamming.com

EASY CLASSIC SONGS by Pete Wernick www.DrBanjo.com

Here is a compact songbook with classic favorites that work in bluegrass style. Words and rhythm markings are provided. The chords are given in the number system, allowing you to choose the key.

A song can be sung and played in any key. The choice is based on what is comfortable for both singing and playing. Being able to play three-chord songs in different keys gives more choices for singing. The keys of G and D use easy chords on all instruments, and one key or the other will generally work for singing. Also, guitars and banjos may raise keys by using a capo.

Most bluegrass, American and British folk and country songs use three-chord structures, often referred to as 1 4 5. The numbers are like placeholders for notes of the scale of whatever key you’re in. In the key of G, for instance, the first note of the scale is a G. The 4th and 5th notes are C and D. So G, C, and D are the 1, 4, and 5 of the key of G. The chords based on these notes are also called 1, 4, and 5, and sometimes the chords are given as Roman numerals (I, IV, V).

Here are the 1, 4, and 5 chords for common singing and playing keys.

Key of 1 (I) 4 (IV) 5 (V)* G G C D

A A D E

C C F G

D D G A E E A B

* A 5 chord may be played as a 7th chord, a slightly embellished chord that in some cases is easier to play than the plain 5 chord. Examples: Banjo players in the key of G will sometimes play a D7 (rather than D) or guitar players in the key of E will play B7 (rather than B). Many songbooks routinely show 5 chords as 7th chords, but in bluegrass, 5 chords are not normally made as 7th chords.

Songbooks generally give chords by name but not by number. That is, they pick the key for each song with no option indicated of what to do if you can’t play or sing the song easily in that key. Sometimes a problem with singing or playing a song in a certain key leads a person to avoid doing the song, but the problem can be solved by transposing, that is, switching a song from one key to another. Transposing can be done quickly with a little experience. The chart above provides a guide for transposing, or for “plugging in” the chords to the 1, 4, 5 numbers given with the songs.

Pick a song you know. Try a key (I suggest G or D) and see if it works for singing by plugging in the proper chords, and singing along. If the chords and your voice don’t match up easily, try translating the 1, 4, and 5 chords into the other key and see if it works better. Do whatever

comes naturally with the right hand. Have a good time! If you’re not certain of the timing, try tapping your foot or strumming exactly where the markings are under the words. Marks under blank spots indicate that the rhythm continues through pauses in the singing.

Aim to play a song:  without stopping  from start to finish  without having to look at your instrument  without looking at the chord changes in the book or from another person  without looking at the words in the book

The more easily you can do all of the above on a song, the easier it is to lead it in a jam.

Memorizing the chords to songs will help your ability to hear when chord changes are supposed to happen, an important ear skill. Soon you will start to get a sense of when it sounds like the chord is going from 1 to 4, or to 5, and back to 1. These are fundamental ear skills for bluegrass musicians.

If you want to learn the chords to a song you can’t find in a songbook, try experimenting. Most songs start on 1, and nearly all end by going to 5 and then 1. Trial and error is the traditional way bluegrass musicians find chord changes. A chord tends to sound correct when it includes the main notes of that part of the melody. Give it a try. Even if coming up with the right chords doesn’t come easily at first, be ready to cultivate this skill in time. It’s important!

Hot Corn, Cold Corn Worried Man

1 Hot corn cold corn bring along a demijohn 1 It takes a worried man . . . to sing a worried song . . . ● ● ● ● ● ● ● ● ● ● ● ●

5 Hot corn cold corn bring along a demijohn It 4 takes a worried man . . . to sing a worried 1 song . . ● ● ● ● ● ● ● ● ● ● ● ●

1 Hot corn cold corn bring along a demijohn It takes a worried man . . . to sing a worried song. ● ● ● ● ● ● ● ● ● ● ●

5 Fare thee well Uncle Bill see you in the morning I’m worried 5 now . . . but I won’t be worried 1long . . . ● ● ● ● ● ● ● ● ● ● ● ● ● ●

Yes 1 sir* . . . . . I went across the river and I laid down to sleep, (3x) ● ● ● ● ● When I woke up , …., I had shackles on my feet.

Upstairs downstairs out in the kitchen (3x) Twenty one links of chain around my leg, (3x) See Uncle Bill he’s a-raring and a-pitching, yes sir And on each link , …., the initials of my name.

Old Aunt Peggy won't you fill 'em up again (3x) I asked the judge, what’s going to be my fine, (3x) Ain't had a drink since I don’t know when, yes sir Twenty-one years , …., on the Rocky Mountain line.

Yonder comes the preacher & the children are a-crying (3x) If anyone should ask you, who made up this song, (3x) Chickens are a-hollering, toenails a-flying, yes sir Tell them it was I , …. and I sing it all day long. [*Note: "Yes sir" is a 1/2 measure, leaves out a beat]

Mountain Dew Red River Valley

Chorus: From this 1 valley they say you are going………. ● ● ● ● ● ● ● ● Oh they 1 call it that good old mountain dew….__ ● ● ● ● ● ● ● ● We will miss your bright eyes and sweet 5 smile….….

● ● ● ● ● ● ● ● And 4 them that refuse it are 1 few…….___ ● ● ● ● ● ● ● ● For they 1 say you are taking the 4 sunshine….…. ● ● ● ● ● ● ● ● I’ll hush up my mug if you fill up my jug ● ● ● ● ● ● ● ● That has 1 brightened our 5 path for a 1while….…. ● ● ● ● ● ● ● ● With that good old 5 mountain 1 dew….___ Chorus: ● ● ● ● ● ● ● ● Come and sit by my side if you love me ___ My uncle Mort, he’s sawed off and short, Do not hasten to bid me adieu, ___ Measures ‘bout four foot two, ___ But remember the Red River Valley, ___ But he thinks he’s a giant if you give him a pint And the cowboy who loved you so true. ___ Of that good old mountain dew. ___ Do you think of the valley you're leaving? ___ The preacher came by with a tear in his eye, O how lonely and sad it will be! ___ Said his wife had been down with the flu. ___ Do you think of the kind heart you're breaking. ___ We said that he ought to give her a quart And the pain you are causing to me? ___ Of that good old mountain dew. ___ As you go to your home by the ocean, ___ My Auntie June has a brand new perfume, May you never forget those sweet hours, ___ It has such a sweet-smelling pu. ___ That we spent in the Red River Valley, ___ Imagine her surprise when she had it analyzed. And the love we exchanged mid the flowers. ___ It was nothing but that good old mountain dew. __

This Land is Your Land --by Woody Guthrie, permission requested

Lonesome Road Blues 1This land is 4 your land…this land is1my land. .__

● ● ● ● ● ● ● ● ● 1 Going down that long lonesome road, Lord, Lord… ● ● ● ● ● ● ● ● From Cali 5 fornia . . . to the New York1 island. .__ ● ● ● ● ● ● ● ● 4 Going down that long lonesome 1 road…..……... From the redwood 4forest…to the Gulf Stream1waters... ● ● ● ● ● ● ● ● ● ● ● ● ● ● ● ● ●

5 This land…was made for you and 1 me….… 4 Going down that long lonesome 1road, Lord, Lord. ● ● ● ● ● ● ● ● ● ● ● ● ● ● As I was walking __ that ribbon of highway, __ And I 5 ain’t gonna be treated this a- 1 way……. I saw above me __ that endless skyway, __ ● ● ● ● ● ● ● ● I saw below me __ that golden valley, __ This land was made for you and me. __ Two-dollar shoes on my feet ___ (2x) Two-dollar shoes on my feet, Lord, Lord, I've roamed and rambled __ and I followed my footsteps __ And I ain’t gonna be treated this a-way To the sparkling sands of __ her diamond deserts, __ And all around me __ a voice was sounding: __ (the same way:) This land was made for you and me. __

Ten-dollar shoes fit me fine ___ When the sun came shining, __ and I was strolling, _ Going where the climate suits my clothes ___ And the wheat fields waving __& the dust clouds rolling, They feed me on cornbread and beans ___ As the fog was lifting ___ a voice was chanting: Going where the chilly winds don’t blow ___ This land was made for you and me. __

These four songs use the same chord pattern: 1 1 1 1 1 1 1 1 Mama Don’t ‘Low

1 1 1 1 5 5 5 5 1Mama don’t ‘low no music playing here ...... 1 1 1 1 4 4 4 4 ● ● ● ● ● ● ● ● 1 1 5 5 1 1 1 1 So do My Walkin’ Shoes, Katy Cline, The Crawdad Mama don’t ‘low no music playing 5 here ...... Song, and Will You Be Loving Another Man. ● ● ● ● ● ● ● ●

1 We don’t care what mama don’t ‘low ● ● ● ● She’ll Be Coming Round the Mountain Gonna 4 play our music anyhow ● ● ● ● 1 She’ll be coming round the mountain when she comes __ ● ● ● ● ● ● ● ● 1 Mama don’t ‘low no 5 music playing1 here . . . . ● ● ● ● ● ● ● ●

She’ll be coming round the mountain when she 5comes __ Mama don’t ‘low no guitar playing round here ● ● ● ● ● ● ● ● Mama don’t ‘low no banjo pickin’ round here She’ll be 1 coming round the mountain, Mama don’t like no bird callin’ round here ● ● ● ● Mama don’t like no hand clappin’ round here

She’ll be 4 coming round the mountain, Mama don’t like no bluegrass music round here ● ● ● ● Mama don’t like no rude noises round here (make up your own) She’ll be1coming round the 5mountain when she1comes. ● ● ● ● ● ● ● ● Roll in My Sweet Baby’s Same way: She’ll be riding six white horses when she comes __ Arms Oh we’ll all go out to meet her when she comes __ Chorus: Oh we’ll kill the old red rooster when she comes __ 1 Roll in my sweet baby’s arms ...... ● ● ● ● ● ● ● ● We’ll all have chicken & dumplings when she comes __ (make up your own) Roll in my sweet baby’s 5 arms . . . . . ● ● ● ● ● ● ● ●

When the Saints Go 1 Lay around the shack till the 4 mailtrain comes back ● ● ● ● ● ● ● Marching In And I 1 roll in my 5 sweet baby’s 1 arms. . . ● ● ● ● ● ● ● ● ● Oh when the 1 saints . . . go marching in . . . . ● ● ● ● ● ● ● ● (verses:) Where were you last Friday night …. Oh when the saints go marching 5 in . . . . When I was locked up in jail …. ● ● ● ● ● ● ● ● Walking the streets with another man Oh I 1 want . . . to be in that 4 number . . . . You wouldn’t even go my bail ….

● ● ● ● ● ● ● ● I know your parents don’t like me …. When the 1 saints go 5 marching 1 in . . . . They throw me away from your door …. ● ● ● ● ● ● ● ● Had my life to live over again I’d never go there any more …. Same way: Oh when the band begins to play . . . Sometimes there’s a change in the ocean …. Oh when the sun begins to shine . . . Sometimes there’s a change in the sea …. Oh when the banjo sounds the call . . . Sometimes there’s a change in my own true love (make up your own) But there’s never a change in me. …. Camp Prep for Novice Fiddle Players (mandolin prep on other side)

I am being taught to play fiddle as a lead instrument and I donʹt understand about chords on the fiddle.

This is typical, if thatʹs any comfort. We teach a lot of fiddlers the rhythm basics.

I thought arpeggios were just extended chords broken up into single notes the fiddle can play, and a way to beat into the brain just which notes are acceptable choices when everyone else is playing a certain chord.

Thatʹs exactly right. A chord means any two or more notes which harmonize together. If you are playing arpeggios of the “acceptable notes in a chord”, then any one or more of those same notes can be used. If youʹre playing two at the same time, that can be called “a chord”, but one is sufficient to be passable. The notes in a chord are: the FIRST, THIRD, and FIFTH note of the scale the chord is based on. Example: for a C chord, use the 1st, 3rd, and 5th notes of the C scale. Those are: C, E, and G.*

To follow chords in bluegrass, you mainly need to know what notes are “acceptable” choices behind each of the chords. The choices change as the chords change.

On our Slow Jam DVD, we start out with a bunch of two chord songs. They use G and D chords. For those two chords, the acceptable notes are (for G:) G, B, or D, and (for D:) D, F#, A. So, for instance, as the song changed from the part backed by a G chord, to D chord, on the fiddle you could note a G and then an A. Or a G and then a D. Or .... a D and then a D!

When you look at it that way, the technical end is pretty simple, but you do have to keep the “acceptable” choices in mind, and as you follow the chord changes, make sure to “stay legal”.

This kind of thing gets much easier the more you do it, to where after a while you can almost stop thinking about it, while still doing it correctly. Thatʹs why I strongly recommend our Slow Jam DVD. The chord changes are shown right on screen, and as the songs go by, you just follow along. The DVD has 17 standards, all played slowly, and the entire chord vocabulary is G, C, D, and A. Play along enough with that DVD, and youʹll be able to fit right in at the camp, and set your sights on more than just the basics of “being legal”.

Are there suggested ways to improve learning chords?

Pick two chords that are commonly played in the same song, and practice switching between them. At first, once youʹve made the chord, pick the strings one by one to make sure theyʹre all clear. Then change the chord and do the same. Then back and forth, and in time, more quickly. With practice, you will definitely get it.

* NOTE: For the names and fiddle neck locations of the notes that correspond to many of the most common chords: http://www.fiddleandbowblog.com/2008/06/free‐fiddle‐cho.html Camp Prep for Novice Mandolin Players (fiddle prep on other side) By Mark Roberts, former jam camper, Argyle, TX

In bluegrass mandolins provide the back beat or off beat. This is done with the mandolin “chop.” It’s not hard. You make a chord ‐ say G ‐ and then strum it but just as it starts to ring you let you fingers up just a little on the strings, dampening them and the sound. You get a nice snare drum chop sound.

That’s your job: to keep the band in rhythm with your chop. The bass player will play ON the beat, and you will play the OFF beat. Boom‐chick, boom‐chick, boom‐chick. You’re the chick. Guitars do both the mBoo and the chick. Fiddles, banjos, resonator guitars sometimes hit the chick, but the mandolin virtually always does.

Playing on the off beat is a little different. It is very easy to roll over to the on beat and it requires some practice to stay on the off beats. If you can’t do it you should work on this relentlessly until you can. This is the single most important preparation you can do so you need to work on this until you can do it. I’m not kidding. You’ve got to be able to chop on the off beats. Get a metronome and set it at a slow tempo. Hold a chord. Beep ‐ Strum the CHOP ‐ Beep ‐ Strum the CHOP. If you can’t chop in between the beeps slow it down till you can. Then work on it until you can do it faster.

If you can’t do it you may want to try playing the G string (furthest from the floor on your mandolin) ON the beat and then chopping. This helps a lot of mandolin players. They play G string, then CHOP. In effect, they are playing boom‐chick, boom‐chick ‐ playing “both parts”, as the guitar does. Work on this. This is what the mandolin does when playing rhythm in bluegrass.

You also should work on changing chords as you chop. You need to be able to smoothly and quickly change from G, C, and D chords. Get the song sheet and use it. Play boom‐chick, boom‐chick, boom‐ chick as you sing the words in your head and then smoothly, without breaking tempo, shift to the next chord and keep right on boom‐chicking in rhythm. The better you are at this the better you’ll do at Jam Camp. Don’t worry about anything else. Don’t work on fiddle tunes or solos. Just work on your chop chords.

By the way, I knew some two‐finger mandolin chords and thought I’d just use those. Wrong! You can’t make that nice mandolin “bark” with only two strings chorded. You need to use the full chords that fret all the strings if you want to be a bluegrass mandolin player. [However, if you can switch quickly between the 2‐finger chords, it’s acceptable to use those. But practicing the full chords is worth the effort.]

If you can chord chop your way through the songs Pete sends at a good pace (like 80 bpm) then you’re ready for Camp.

If you can’t chop and chord and you aren’t getting it on your own then order Pete’s Slow Jam DVD. It contains a ton of songs and gives you plenty of slow songs to work on your chop. I bought one at the Camp and it is a huge help. Get one before Camp and you’ll be just that much better before the Camp starts.

RECOMMENDED RESOURCES FOR CAMPERS: by Pete Wernick BOOKS, VIDEOS, RECORDINGS, ETC. www.DrBanjo.com

Please send any corrections or recommendations to Pete at [email protected]

TO FIND BLUEGRASS JAMS IN YOUR AREA www.bluegrassmusicjams.com -- lists several hundred jams by state. www.folkjam.org -- connect with musicians, find jams at home and on the road, organize or publicize a jam. www.meetup.com – (enter Bluegrass under interest) Search Google for “bluegrass jam [your state or city]” or just “bluegrass music [your state]”

SONGBOOKS All titles listed are legal, with proper author credits and permissions

Bluegrass Songbook $29.95 by Pete Wernick Music Sales (available from DrBanjo.com) 140 songs, with melodies in simplified 3-line tab that works for guitar, banjo, and dobro (puts melodies on the 2nd, 3rd, 4th strings, which are tuned the same on those instruments). Book also includes many interview excerpts with many top bluegrass singers about the art and technique of singing and songwriting. Sections on harmony singing, singing in pitch, finding the right key, much more.

The Bluegrass Fakebook $19.95 Bert Casey/Koala. 150 songs, good selection, large format, melodies in standard notation.

Parking Lot Pickers Songbook $34.95 (separate banjo, guitar, and mandolin editions) Dix Bruce & Bill Evans Mel Bay Over 215 bluegrass songs, many well-known, quite a few unknown. Large format, spiral bound. Melodies in standard notation and simple tab form for specified instrument. CD incl. with recordings of sung verse and chorus of each song.

Bluegrass Picker’s Tune Book $24.95 Richard Matteson, Jr. Mel Bay. Words, chords and melodies in music notation for over 200 well-chosen bluegrass favorites, almost all public domain.

Rural Roots of Bluegrass $16.00 Wayne Erbsen Native Ground Music Great selection of 94 favorites from the early days, with enjoyable history and photos. Standard notation.

Old Town School of Folk Music Songbook $14.95 Edited by Michael Miles & Jimmy Tomasello. Hal Leonard Revised 2008 edition has 117 well-selected favorite folk songs in large format with melody lines in standard notation; has info on chords, tunings, transposing and more. Companion CDs: 4 CDs (Vol. 1, 2&3, 4) with good performance versions of nearly all the songs available for $13.50 each or as package for $30, from Bloodshot Records, www.bloodshotrecords.com/merch. Recordings now also available as digital downloads via iTunes and Amazon.com

Rise Up Singing $22.95 larger print: $29.95 Peter Blood & Annie Patterson Sing Out! Books Quantity discounts: http://www.singout.org/rus.html. Amazing collection with words and chords to nearly 1200 songs. Folk songs, ballads, cowboy, gospel, blues, favorite pop songs, musicals, holiday, etc. Spiral bound. Smaller edition is compact but too small for easy use in jam sessions. Recordings of all songs are also available from the publisher.

PLAY ALONG RECORDINGS: Titles below present full-band versions of jam session favorites (mostly songs, with a few instrumentals) with typical arrangements, in typical keys, with vocals included and opportunities in each song for soloing. Full lyric/chord book in each package. (All items below available from DrBanjo.com)

Homespun DVDs with Pete Wernick and all-star band. Simple chords & a variety of gentle tempos. $29.95 ea.:

Bluegrass Slow Jam For the Total Beginner (slowest speeds) 17 songs, including several with just G and D. Four chords used on entire video: G, C, D, A. Includes basic jamming instruction, a few “soloing opportunities”. Confidence builder!

Bluegrass Jamming For Newcomers and Closet Pickers 17 songs, novice to early intermediate, One soloing opportunity per song. Instruction on jamming, ground rules.

Intermediate Jam Session 22 songs at moderate tempos (about 100 beats/minute), two soloing opportunities per song, less jamming instruction than previous DVDs. (more on next page)

Music Minus One play-along CD/booklet sets for banjo, guitar, and mandolin $24.95 each. (available from DrBanjo.com) Includes 2 CDs. 14 favorites played by County Cooking at full speed on one CD, and slowed- down on a separate CD. Full-speed version gives two full versions of all songs, one with featured instrument separated in one stereo channel and the rest of the band + vocals in the other. The other version on the faster CD and the slowed-down CD both have just the band and vocals minus the featured instrument. Each set includes tabbed solos by the featured instrument.

OTHER BOOKS: Play Well With Others, A Musician’s Guide to Jamming Like a Pro $16.95 Martha Haehl & Mike Walker. For new or intermediate musicians tired of playing alone; learn how to be welcomed into a music jam. www.playwellwithothers.com.

INSTRUMENTAL INSTRUCTION FOR SIMPLE SOLOING ON SONGS

While there are many videos and books on the market, the following list focuses on material that helps a fledgling jammer learn to embellish basic song melodies or throw together passable solos “on the fly”. Methods emphasizing instrumental pieces, or exact arrangements with no attention to how to create the solo, are not included.

Guitar

Steve Kaufman, Lead Guitar Breaks for Bluegrass Songs. DVD 60 minutes, with tab; $29.95, Homespun Tapes, www.homespun.com How to find and embellish melodies. Six representative songs, fingerings clearly shown.

Steve Kaufman, Bluegrass Guitar Solos that Every Parking Lot Picker Should Know – series 3. What to Play When the Singing Stops! 6 CDs with 100-page tab book; $69.95 Homespun Tapes, www.homespun.com Good song selection. “How to work out guitar breaks to bluegrass vocals”.

Banjo

Pete Wernick, Make Up Your Own Banjo Solos. DVD 120 minutes, tablature included, $29.95. DrBanjo.com. For players of all levels, how to create workable banjo solos both "on the fly" while jamming, and with more precision in your practice time. Finding and using melody notes, ideas for using licks, lead-ins, tags and other embellishments. This DVD, addressing first-position solos in the key of G, is first in a series. Volume 2, released in late 2009, addresses solos in D, C, and F without a capo, and G up-the- neck.

Wil Huckabay, Building Blocks for Bluegrass Jamming, Volume 1. Spiral bound 32-page book with CD. $29.95

Mandolin

Butch Baldassari, You Can Play Bluegrass Mandolin, Lesson One. DVD 60 minutes, with tab; $29.95 Homespun Tapes, www.homespun.com Four standards shown in clear detail, in the keys of G and A. Useful typical phrases are presented, though not the hows and whys of manipulating them for on-the-fly soloing.

Fiddle

Brian Wicklund, American Fiddle Method, Books 1 and 2. Each 64 pages with CD. $24.95 each, Mel Bay. www.brianwicklund.com. Very clear, accessible introduction to fiddling with standard tunes and simple variations. In Book 1, variations for some songs and backup instruction are included.

BLUEGRASS RECORDINGS

Most highly recommended:

Time-Life set, Classic Bluegrass Collection 8 CDs, sometimes packaged with a 2 CD set of gospel bluegrass favorites, can be purchased through Amazon.com for about $120 A very carefully compiled collection of 292 of the most popular and influential bluegrass music since the early days, right up to the present, everything from the Monroe Brothers in the 30s, to a good selection of top songs of Bill Monroe, Flatt & Scruggs, and the Stanley Brothers through Alison Krauss and Hot Rize. Not all of these are jamming favorites, but this set really does capture the essence of what bluegrass is all about, and is well worth the investment.

The Music of Bill Monroe available from Amazon.com for $50 An excellent 4-CD representation of his most important work, spanning the whole career of the “Father of Bluegrass”. Not just history, but a great deal of still-standard repertoire.

Flatt & Scruggs 1948-59 Box Set, Bear Family available from Amazon.com for $89.98. The essential years of Flatt & Scruggs; over 100 cuts with many classics.

There are great box sets available (see other side) of Jimmy Martin, the Osborne Brothers, Country Gentlemen, different portions of the careers of the Stanley Brothers, Ralph Stanley, Bill Monroe, Jim & Jesse, Flatt & Scruggs, and others. All of these contain a great deal of classic and favorite material. Order at good prices from County Sales. For out of stock titles, try Amazon.com.

Bluegrass Classic Videos Good sources for these are County Sales or Amazon.

High Lonesome Shanachie about $20 Easily the best and most comprehensive film of the history of bluegrass. Includes many classic performances and great interviews with the legends, and a very well-presented program showing how bluegrass developed from diverse cultural roots into what it has become. Much of the focus is on Monroe, and while it could be more inclusive, it’s a truly excellent overview.

Bluegrass: Country Soul about $20 A gritty look at a typical bluegrass festival from 1971, with many great performances (Martin, Stanley, Osbornes, Crowe), informal footage and interviews. A great timepiece, with good color and sound.

Flatt & Scruggs TV Shows a series of DVDs, each $20 and including 2 half-hour shows. All banjo players should have at least one of these DVDs, to see Earl Scruggs in action at the peak of his influence, in the early 60s. The band is smooth, relaxed, and sounds great, but not all the material or TV commercials wear as well as the highlights. Some interesting guest artists including Mother Maybelle Carter, Stringbean, and the 7 year-old Ricky Skaggs. My favorite volume is No. 7 with a 1956 show.

Gather at the River about $20 A good look at the bluegrass scene of 1993, filmed at the IBMA’s convention and including excellent performances by Ralph Stanley, Doc Watson, Pete Rowan, Nashville Bluegrass Band, and the Bluegrass Youth All-Stars, with 12-year-olds Chris Thile, Michael Cleveland, Josh Williams, et. al.

Bluegrass library on YouTube: Please note that no artists or writers make any money from YouTube. Some great individual songs here. It is recommended that they lead you to support of the artists. www.youtube.com (search: Bluegrass)

BOX SETS and RECOMMENDED RECORDINGS (comments below courtesy of CountySales.com)

BILL MONROE 'Anthology': This new 2-CD set includes exactly half of the songs and tunes that appeared on an earlier 4-CD Box Set (MCA-11048). Includes 24-page booklet with abbreviated notes by Mary Katherine Aldin. The 50 tracks are fine representations of his stellar work for the DECCA (later MCA) label, and range from NEW MULESKINNER BLUES (1950) to MY LAST DAYS ON EARTH (1981). While not as inclusive or as elaborate as the 4-CD box, this is still a wonderful sampling of some of Bill Monroe's finest work. $22.50 from County Sales. (MCA-113207)

THE MUSIC OF BILL MONROE: A 98-song collection on four CDs with a very well done booklet by John Rumble. Great selection of his best material, from early Monroe Brothers days through the Columbia and Decca years. Highly recommended as a great overview of the music of a true genius. $49.98 from Amazon.com (MCA-11048)

BOOK: CAN’T YOU HEAR ME CALLIN’: The Life of Bill Monroe, by Richard D. Smith. 365 pages. Many will have a hard time putting the book down. Hats off to the author for a sound, well-presented work on one of the most fascinating personalities of our lifetime. MUST READING for any Bluegrass Fan! $25.60 hardcover / $14.95 paperback from Amazon.com

FLATT & SCRUGGS ‘1948-1959’: The ultimate and COUNTRY GENTLEMEN 'Early Rebel Recordings 1962- essential Flatt & Scruggs collection; 1972' (4-CD set): 110-song collection includes the complete Mercury recordings, documents the peak early years of this plus their very best work for Columbia with great and important group. Hear Charlie sidemen like Benny Martin, Chubby Wise, Waller, John Duffey, Eddie Adcock, Tom Everett Lilly, Curly Seckler, and on into Gray, Bill Emerson, Doyle Lawson, their early dobro sound with the addition of Jimmy Gaudreau and others, with exten- Buck Graves. Well over 100 songs, great booklet. $92.49 sive notes on the sessions. $40.00 (REB-4002) Amazon.com (BCD-15472) REBEL RECORDS: 35 Years of the Best In Bluegrass JIMMY MARTIN / SUNNY MOUNTAIN 1960-1995: Marvelous 4-CD box set with over 100 cuts by BOYS. Over 120 of Martin’s Decca/MCA Tony Rice, Country Gentlemen, Seldom recordings with such standouts as Paul Scene, Ralph Stanley, Dale Evans, Larry Williams, J.D. Crowe, Vic Jordan, Bill Sparks, Blue Highway and dozens of Emerson, etc. Soprhone, Hit Parade of others.With lovely 36-page book of notes Love, Sunny Side of the Mountain, etc. 5 by the late Bill Vernon. $40.00 (REB-4000) CDs plus booklet. $138.99 Amazon.com ANTHOLOGY OF AMERICAN FOLK RALPH STANLEY '1971-1973’: Great 4- MUSIC. 6 CDs with a reprint of the CD compilation taken from his best early original booklet. Plus, another huge new years on Rebel with Ricky Skaggs, Keith 68 page booklet of notes, photos and Whitley & Roy Lee Centers. Includes 12 commentary to help document this work, cuts never issued in U.S. with booklet which includes examples of Blues, Cajun $40.00 (REBEL-4001) music, Sacred Harp, and old-time songs, ballads & tunes. One CD is an interactive CD-Rom on which you can see RENO & SMILEY 1951-1959: Super 115 some photos, film footage & interviews. A must for anyone song collection of the best recordings by interested in rural American music. Dock Boggs, Tom this great duo – including their first Ashley, Carter Family, Mississippi John Hurt, Blind Lemon recordings for the Federal label by Jefferson, and more. $75.00 (S/F-20090) Tommy Magness. 24-pg. booklet with many color photos & discography. $45.00 APPALACHIAN STOMP: Bluegrass Amazon, Barnes&Noble online. (price varies) Classics: On a single CD, a well-chosen set of 18 classic bluegrass performances OSBORNE BROTHERS by an excellent sampling of many top '1956 - 1968' (4CDs): bluegrass artists. $11.00 (Rhino, RH-7l870) Includes their MGM cuts and early Decca recordings – worth the price just for the fabulous early MGM BEST LOVED BLUEGRASS: 20 All- sides! 4 CDs plus booklet. $85.00 (BCD- Time Favorites: Rebel Records’ compil- 15598) ation of 20 bluegrass jam favorites as performed by their most popular artists County Sales Contact: www.countysales.com 540-745-2001 including many top names. $9.00 (REB- If items are out of stock, try Amazon.com 8004-CD) 81 Two Chord Songs “Try hearing where the chords change!” Compiled by Pete Wernick More free jamming info at* 1 and 5 chords: G and D, C and G, etc. BluegrassJamming.com

Popular Bluegrass Songs Other Bluegrass Favorite Folk Songs Please copy and share! • Handsome Molly • Sharecropper’s Son • Tom Dooley • Shady Grove • Standing in the Need • Puttin’ on the Style Develop your ear skills: • John Henry of Prayer • He’s Got the Whole Try guessing where the • Little Birdie • Old Gospel Ship World in His Hands changes happen. With a choice • There’s No Hiding Place • Boll Weevil *of just two chords, see which • Hot Corn, Cold Corn Down Here sounds better—and use it! • Reuben’s Train/Train 45 • Skip to My Lou • See That My Grave Is Kept • Shortnin’ Bread Start on the 1 chord (that’s the • Bringing in the Georgia Mail Green (or Clean) key you’re in). The other chord • Go Tell Aunt Rhody • Fire Ball Mail • Hear Jerusalem Moan in most songs is the 5. Such as • Down in the Valley • Jimmie Brown the Newsboy • Who’s That Knocking G to D, or D to A. Experiment! • I’ll Go Steppin’ Too at My Door • Clementine Check your guesswork with a • Katy Daley • I’ll Be There • Buffalo Gals songbook or knowledgeable musician. That’s how it’s done. • You Are My Flower • Don’t Lie to Me • On My Mind • Walking in My Sleep 1 and 4 chords: These songs are most often done • Get in Line Brother • It’s Too Late to Walk G and C, with two chords, though some the Floor versions may have more. • Will You Be Lonesome Too D and G, etc. • Kentucky Girl • Somehow Tonight • I’m Gonna Love You Like • Things in Life • My Home’s Across the Bestselling play-along videos! There’s No Tomorrow • Walls of Time Blue Ridge Mountains • It Ain’t Gonna Rain • Be Proud of the • I’m Going Back to No More Gray in Your Hair Old Kentucky • It’s Goodbye and So • Going Up on the Mountain • Working on a Building Long to You • Great High Mountain • Wild Bill Jones • I Might Take You • Ho Honey Ho • Pretty Polly Back Again • These Blues Have Got Me • Stay All Night • Mountain Folk • Get on Your Knees THE DVD • Ashes of Love • Keep Your Lamp Trimmed and Pray to start with, BLUEGRASS • Driving Nails in My Coffin and Burning for ALL bluegrass instruments! SLOW JAM • Pretty Fair Maid in • Hold to God’s for the the Garden Unchanging Hands 1 minor and 7 chords: Total Beginner • The Old Crossroads m and Play along with 17 standards at slow speeds. • Darling Corey E D, Only chords: G, C, D, and A, shown on all six • Little Liza Jane Favorite Country Songs Am and G, etc. instruments! Chords on screen as you play. Print lyrics and chords to all songs. • Where the Soul Never Dies • Take Me Back to Tulsa • What Should We Do • What Would You Give in • Jambalaya with the Drunken Sailor BLUEGRASS JAMMING Exchange for Your Soul • Pistol Packin’ Mama 17 more standards, slow/medium speeds, • Sinner Man a soloing opportunity in each song! • Mansions for Me • Honky Tonkin’ • Shady Grove • Poison Love • Waltz Across Texas (minor key version) INTERMEDIATE JAMMING • Wade in the Water 22 songs, moderate speeds, 2 soloing • I Love You a Thousand Ways chances each song. Please suggest additional songs to • Crazy Heart • Walking Boss Pete at [email protected] DVDs available on DrBanjo.com

Learn real bluegrass... Wernick Method Jam Classes in your area — with people like you! • Hands-on learning in large and small groups • Only four chords needed, G, C, D, and A • Ear skills taught and emphasized, as in real bluegrass • Understanding, low-pressure, Wernick-certified teachers • How to follow new songs, fake solos, lead songs, find melodies, carry a tune, sing harmony • Gentle tempos! Mistakes expected BluegrassJamming.comBluegrassJamming.com • Full ground rules and etiquette of typical jams TOP 107 BLUEGRASS JAMMING FAVORITES Compiled by Pete Wernick UP-TEMPO

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SpecialNSTRUMENTALS • Clinch Mountain Backstep • • • • • JambalayaSilentGentle Night on MyI Mind• ••AmazingWhite Dove Grace Marching Inbluegrass harmony, and bluegrass singing,including • Gentle on My Mind JambalayaRebecca• Blue Moon of KentuckyAmazing Grace ’ • FoggyELL MountainKNOWN • FoggyRebecca •Mt. Special• many tips fromDon the’t Thisall- Roadbluegrass Look harmony, and many tips from the all- Bile em Cabbage Down •FoggyW Mountain- Top Truck Driving Man time greats:• Monroe, Full all-star band, slow speeds, easy chords • FreightYou are Train My Sunshine • Gray Eagle • You’ve Done • • Stanley, Martin,• Amazing etc. Grace Columbus Stockade BluesGentle on My Mind Tennessee Waltz bluegrass harmony, and ’ • • • Shuckin’ the Corn Rebecca • Salt Creek • Paradise • Life s Railway to Heaven Breakdown • Blue Moon• of KentuckyRed River ValleyAvailableRough on DrBanjo.com and Rockymany tips from the all- time greats: shown Monroe, onscreen, spaces for you to solo! Home on the Range KNOWNGentleFreight onTrain My MindCripple Creek • • BLUEGRASS SONGBOOK • - • RockyClinchSONGSTHATWORK• TopMountain Backstep• • RebeccaGray Eagle many tips from the all- • JambalayaSunnyWhen Side the ofSaints Go • • Live and Let ParadiseLive By Pete Wernick • FreightELL Train Old Joe Clark NSTRUMENTALS• ALTZ (3/4time greats:TIME Monroe,) Stanley, Martin,THER etc. LOW EMPO • W WELLINBLUEGRASS• Gray Eagle I ’ W • Red Haired Boy O S • DarkT as a Dungeon • Come All Ye Fair theMarching Mountain In • SoldiersFreightColumbus Joy Train Stockade• Blues • Tennessee WaltzDark• Sheas a Dungeonll be ComingPlease •RoundI Am suggest a Pilgrim additional songs time greats: Monroe,Lots of free info SONGSTHATWORK• Foggy Mountain • GrayShuckin’ Eagle the• Corn 140 CLASSIC SONGS!BLUEGRASS Melodies SONGBOOK in easyStanley, Martin, etc. • John Henry • • Hot Corn, Cold Corn and Tender Ladies Columbus Stockade Blues Driftingthe TooMountain Far to Peteby Pete at Wernick [email protected] Stanley, Martin,about etc. Jamming! • WELLINBLUEGRASSSalt Creek • Shuckin’Breakdown the CornParadise • guitar/banjo tablatureLife’s Railway •toSally Heaven Goodin Available on DrBanjo.com• Drifting Too Far • Red River Valley • • ColumbusHome on theStockade Range Blues • Shuckin’Clinch Mountain the FromCorn Backstepthe Shore • Soldiers Joy •Cripple Creek All140 the CLASSIC Good SONGS!Available Times areon DrBanjo.com LongVisit DrBANJO.com Black VeilFrom, the Shore This Land is Your Land• • Mama Don’t ’low • Melodies in easy guitar/ • • Home on theThis LandRange• is Your Land Clinch Mountain Backstep • Angel Band The only book that teaches bluegrass singing,• John Hardy Available on DrBanjo.com ’ • • RedHomeJambalaya Haired on theBoy Range• Salt Creek • Dark as a Dungeon• • ComePastbanjo andAll tablature YeGone Fair click JAMALOT. • She ll be Coming Round • • • Clinch Mountain Backstepincluding bluegrass harmony, and many tips from Wabash Cannonball • Old Joe Clark In the Pines • Banks of the •OhioAngel Band Jambalaya• • Wabash Cannonball Red Haired Boy • Careless• Love and TenderThe only book Ladies that teachesBlackberry Blossom WtheELL Mountain-KNOWN• Sally Goodin • Drifting Too Far all-time greats: Monroe, Stanley, Martin, etc.• You• are• Jambalaya My Sunshine • Old Old House • Whitebluegrass Dove singing,including • Sally Goodin Foggy Mountain • Don’t This RoadIn Look the Pines BLUEGRASS SONGBOOK SONGSTHATWORK • You are My Sunshine • •From the Shore Red Wing bluegrass harmony, and • • • Mama Don’t ’low When the Saints Go • Lonesome River many tips from• theBill all- Cheatham by Pete Wernick • • John Hardy John Hardy Breakdown • Blue Moon of Kentucky Rough and Rocky INSTRUMENTALSMarching In • WALTZ (3/4 TIME) OTHER• SLOW TEMPO WELLINBLUEGRASS I Hear a Sweet time greats: Monroe, • Old Old House • When the Saints Go • Angel Band • Charlie• and the MTA Stanley, Martin, etc. • Careless Love BlackberryRed River Valley Blossom Blackberry Blossom Voice Calling • Dear Old Dixie •• • • Soldiers Joy • Tennessee Waltz • I Am a Pilgrim 140 CLASSIC SONGS! Marching’ll be Coming In Round Bill Cheatham Lonesome River She • In the Pines Jingle BellsAmazingBLUEGRASS Grace SONGBOOKAvailable on DrBanjo.com • Melodies in easy guitar/ • Red Wing Cripple• Creek’t ’low •All the Good Times• are• Long Black Veil• Dixie Breakdown This Land is Your Land •• Billthe Cheatham Mountain Dear• Old• Salt Dixie Creek by Pete• •WernickParadise • Life’s Railway to Heaven banjo tablature • • Red River Valley • I Hear a Sweet Mama Don •PastOld andOld GoneHouse• Auld Lang Syne • • Charlie and the MTA Old •Joe Clark Dixie Breakdown Banks of the Ohio• Ground Speed • Wabash Cannonball •• Dear’ Old Dixie • • Red Haired Boy 140 •CLASSIC• Dark SONGS! as a Dungeon • Come All Ye FairVoice Calling The only book that teaches • SheCarelessll be ComingLove Round Ground Speed • ••WhiteLonesome Dove River• Silent Night Melodies in easy guitar/ and Tender Ladies bluegrass singing,including • Jingle Bells • FoggyDixiethe MountainBreakdown • Don’t This Road •LookFoggy Mt. Special • You are My Sunshine • • Red Wing •FoggySally Mt. GoodinSpecial banjo tablature• Drifting Too Far • Amazing Grace bluegrass harmony, and Breakdown •BlueI Hear Moon a Sweet of Kentucky Gentle on My MindRough and Rocky Auld Lang Syne Charlie’ and’ the MTA •• Rebecca • From the Shore• Rebecca •When the Saints Go ••GroundMama• DonSpeedt low •• John Hardy The only book that teaches many tips from the all- • Jingle Bells Voice Calling Soldiers Joy• TennesseeGray Eagle Waltz I Am a Pilgrim time greats: Monroe, MarchingSilent Night In • • • • Freight Trainbluegrass• • singing,includingAngel Band • Gray Eagle • ••FoggyCareless Mt. AuldLoveSpecial Lang Syne BlackberryShuckin’ the CornBlossom • •Amazing• Grace Stanley, Martin, etc. Salt Creek •Paradise Columbus StockadebluegrassLife harmony, Blues’s Railway and to Heaven • RedGentle River on Valley My Mind • Silent Night • Clinch Mountain• Backstep • • In the Pines • Shuckin’ the CornBLUEGRASS SONGBOOK • ••RebeccaRed Wing• • Bill• Cheatham many tips from the all- Gentle on My Mind by Pete Wernick Available on DrBanjo.com SheFreight’ll be TrainComing Round • Red Haired Boy• • Dark as a Dungeon• Home on thetime Range •greats:Come• Old Monroe, AllOld Ye House Fair Clinch Mountain Backstep •• ••GrayCharlie Eagle and theFreight MTA Train Dear Old Dixie • the Mountain • • Stanley,and Martin, Tender etc. Ladies 140 CLASSIC SONGS! • Sally Goodin Columbus Stockade Blues• Drifting Too Far• Jambalaya Lonesome River • Columbus Stockade Blues Shuckin’Jingle Bells the Corn• • Melodies in easy guitar/ •• From• Dixie the Breakdown Shore • Mama Don’t ’low Home on the Range Available on DrBanjo.com banjo tablature Home on the Range • John Hardy • • I Hear a Sweet • ••ClinchAuld LangMountain Syne BackstepJambalaya Ground Speed Careless Love • • Angel• Band Voice Calling The only book that teaches • Jambalaya • Blackberry Blossom • • Silent Night • Foggy Mt. Special bluegrass singing,including Red Wing • In the Pines BLUEGRASS• Amazing SONGBOOK Grace • • Bill Cheatham by Pete Wernick bluegrass harmony, and • Gentle on My Mind Rebecca Charlie and the MTA • Old• Old House many tips from the all- • • Dear Old Dixie 140 CLASSIC SONGS! • Freight Train Gray Eagle time greats: Monroe, • Lonesome• River Melodies in easy guitar/ • Jingle Bells • Dixie Breakdown Stanley, Martin, etc. • Columbus Stockade Blues Shuckin’ the Corn banjo tablature Auld Lang Syne • I •Hear a Sweet • • Ground Speed The only book that teaches Available on DrBanjo.com • Home on the Range Voice• Clinch Calling Mountain Backstep • Silent Night • Foggy Mt. Special bluegrass singing,including • Jambalaya • Amazing Grace bluegrass harmony, and • Gentle on My Mind • Rebecca many tips from the all- • Freight Train Gray Eagle time greats: Monroe, • Stanley, Martin, etc. • Columbus Stockade Blues • Shuckin’ the Corn Available on DrBanjo.com • Home on the Range • Clinch Mountain Backstep • Jambalaya