DOCSLIB.ORG

Ctba Newsletter 0604

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Ctba Newsletter 0604 Central Texas Bluegrass Association’s BLUEGRASS BULLETIN Volume 28, No. 4 April, 2006 Upcoming Events Before There Was Bluegrass April by Tyler Balthrop 1st - CTBA Beginner & Intermedi- ate Jam, 4-6 pm, at Artz Ribhouse, 2330 South Lamar, Austin, TX To me, acoustic music is raw and “organic” in a sense. That’s why I like to play it, 78704. because it’s real and challenging. I also play it because I like to feel that I’m carrying on a tradition of music that otherwise may have been lost in a sea of Electronics and DJ’s. But 1st - CTBA Night! 7-9 pm I am just one of millions in a long line of people who have been carrying on this tradition Danny Santos backed by Eddie since man lived on the other side of the world. Collins/Los Bluegrass Vatos at People have been playing fiddle tunes in Ireland for hundreds if not thousands of Artz Ribhouse, 2330 South Lamar, years. These tunes were passed on from generation to generation, and were brought across Austin, TX 78704. the sea by immigrants to America. Ancient songs like “William in the Lowland”, “Whis- 1st & 2nd - Oakdale Park Bluegrass key Before Breakfast”, and “the Rose-Haired Lad”, became part of our heritage, and are Jamboree, Glen Rose, TX still popular today. Before the 1900’s, if you wanted a mandolin or banjo, you had to make it, or 20th & 23rd - Old Settlers Music have it made by a carpenter. This was very costly, and since the supply of fine woods Festival, at the Salt Lick BBQ was limited, many instruments were made out of furniture. The Gibson Company was Pavilion and Camp Ben Mc- actually started by a mandolin player, fed up that he couldn’t find a decent instrument. Culloch, Austin, Texas, Thurs- Many people credit Gibson with starting the string band trend that ultimately led to the day thru Sunday Bluegrass Bill Monroe would play, but many believe it was in fact the Sears and Roebuck May Company. When the Sears and Roebuck catalog came out back then, in addition to being 6th - CTBA Beginner & Interme- free paper for the outhouse, one could purchase an Italian mandolin, a Hawaiian Guitar diate Jam, Artz Ribhouse (dobro), an African Banjer, or a fiddle for a modest price (around $5-$10). People began 6th - CTBA Night! 7-9 pm forming string bands, and for the first time, these instruments from different cultures were Wayne Brooks and the Piney readily available and being played together. Many of the songs these string bands would Grove Ramblers, 6:30 - 7 pm play were renditions of old Irish fiddle tunes, or original compositions that became known Stringed Tease, Artz Ribhouse as “Jazz”, essentially the first forms of American Music. Not too many years later, when Bill Monroe started playing the mandolin, he 6th - Wendelfest - WooHoo played old tunes his family had passed down to him. These ancient songs, having already www.wendelfest.com been in America for hundreds of years, had taken on a whole new life with new melodies 12th - 14th and new names. They became “Billy in the Lowground” and “The Red-Haired Boy”. Bill Texas State Mountain and Hammer played them with a fevered tempo that sparked a new sound and gave birth to a new tradi- Dulcimer Championships, Oakdale tion. Through him, from this ancient music, came the beginnings of what is now called Park, Glen Rose, TX Bluegrass. 18th - 20th 2006 Fire on the Strings Festival Montgomery, TX 19th - 20th Mays’ Bluegrass Pickin’ Under the Stars, Oakdale Park, Glen Rose, TX June and their instruments 14th - 18th Just four guys, two microphones, Hill Country Acoustic Music Camp, COOPER’S UNCLE Schreiner University Kerville, TX Check out Tyler’s band Cooper’s Uncle at: www.CoopersUncle.com For Information on CTBA membership Thank you…! and activities, contact: Central Texas Bluegrass Assoc. Thank you for giving me such a strong welcome as the new CTBA Presi- P.O. Box 9816 dent. Over the past three months I’ve had an amazing time meeting, jamming, Austin, TX 78766-9816 and corresponding with CTBA’s dedicated members. I am constantly encouraged (512) 261-9440 by the support you give to area Bluegrass bands, and the unceasing promotion of email: [email protected] what I consider to be the most challenging and fastest growing genre of American www.centraltexasbluegrass.org music. Bluegrass to me is pure American music that constantly challenges me. It CTBA is a non-profit, tax-exempt can be simple or it can be complex. There is no other style of music that allows 501(c)3 Association, Incorporated in a musician to just jump into a group, and either show off you licks, or simply tap the State of Texas your toe to the rhythm. The seasoned musicians don’t mind showing beginners the strings, and you don’t have to lug around a truck load of equipment to play a good song. As a listener, you can just sit back and relax, and when the music is right, it RANDALL’S can be an unforgettable experience. This is why I love an organization like CTBA. GOOD NEIGHBOR Here is a group that has focused on what at times may not have been mainstream PROGRAM music, but it has steadily grown and strengthened in listenership due to loyal fans, The CTBA number for this attention to family values, the challenge it presents to musicians, and the constant program is 9735. evolution that somehow stays true to what Mr. Monroe intended it to be. If you sign up, Randall’s At this point you may be asking yourself who I am, and who these two will donate a percentage of your purchases to fellows are in the photograph. I’m a 32 year old CPA in the Austin area. I was CTBA! reared in Amarillo, TX, and was fortunate enough to spend a good amount of time in a little town called Quitaque (kit-ta-kway). Quitaque’s sister town is Turkey, TX, the 1920’s home of Bob Wills. My grandmother claimed he was the town barber! I took up guitar at age 15 playing in the church choir, and after 15 years of OFFICERS wandering in the music woods, I finally found bluegrass. I still consider myself a President beginning/intermediate musician, and have basically had to relearn how to play af- Steve Davidson ter many years of listening to mainstream radio. I began taking lessons from Eddie [email protected] Collins about three years, occasionally attend Stephe & Jacque Mangold’s jam, and Vice President now have the honor of representing you here at CTBA. I always enjoy meeting Jamie Stubblefield CTBA members, so feel free to introduce yourself. [email protected] Now these two men in the photo- Treasurer graph are really important to me, as they Russ Gunn are my great grandfather, Mason Greenfield [email protected] Curtis, and my great uncle Hurshell Robert Secretary Curtis. I never had the opportunity to meet Greg Jones my great grandfather, but I was fortunate [email protected] enough to spend time with my always loving Jane Laughlin Uncle Hurshell. In my recollection, I knew Membership him as an extremely hard working Depres- [email protected] sion Era man who loved his family dearly. John Hood He came from a family of five kids who were all very hard working, never had fame Past President or fortune, and loved each other dearly. This Steve Zimmet picture somehow gives me a link to that fam- [email protected] ily, and every time I sit down to play a traditional song, I can’t help but think they might have played the very same song after a hard day of working in the Texas COMMITTEES Panhandle. This is just another one of the reasons I have grown to love Bluegrass. Beginner/Intermediate Jam I hope you have stories, memories, and pictures just like this to cherish. Stephen Mangold As for the organization, we are currently working hard on upcoming events. I also want to press upon you the importance of getting involved with your Webmaster Steve Zimmet association. We will have plenty of opportunities for you to help out in the upcom- [email protected] ing year, and I hope that if you are a musician, you will come out and participate in some of the many jams across the Central Texas Area. Thanks again for your strong support, and thanks for keeping your appreciation of Bluegrass alive. Sincerely, Editor’s Note: All writers, artists, and photographers Steve Davidson retain all copyrights over any work submitted to the President 2006, CTBA Central Texas Bluegrass Bulletin. BLUEGRASS REVIEW by Sean McCormick Audie Blaylock, Trains Are The Only Way To Fly (self released) Audie Blaylock has been in Bluegrass for over 25 years, working with such Bluegrass greats as Red Allen and Lynn Morris. Most notably though, at the age of 19, he joined Jimmy Martin & The Sunny Mountain Boys, staying 9 years. In 2000, he joined Rhonda Vincent’s band, and would perform with her until 2004. Deciding then it was time for him to form his own band, he put together the group Audie Blaylock & Redline. In 2005, they were nominated for the IBMA’s Emerging Artist Of The Year. During his tenure with Rhonda Vincent, he released his first solo effort, “Trains Are The Only Way To Fly”. Traditional Bluegrass fans will be thrilled to hear this recording with it’s straight ahead, hard driving songs, played the way they were meant to be.
Load more

Recommended publications
  • Cowpie Lessons
    I. Basic Theory A. Major scale and Intervals COPYRIGHT AND DISCLAIMER The Cowpie Guitar Lessons are Copyright 1995 by Greg Vaughn. Lessons are Written by Greg Vaughn and typeset in BoChord 0.94 which is Copyright 1995 by Harold "Bo" Baur. The material included in this series of lessons is not guaranteed to be correct. It should be considered guidelines used in Western music - Western as in Western Hemisphere, rather than songs of the American West. The "rules" given here were much more strictly adhered to in the period of classical music, however they still serve as useful "rules of thumb" in 20th century music. They are probably true 90% to 95% of the time in Country styles. As you all probably know, music is based on scales. Scales are based on patterns of notes called intervals. Chords are built by playing a combination of notes from a scale. The smallest unit of "distance" between notes is the half-step, By "distance" I mean difference in frequency between notes which relates to a true distance on the fretboard on a guitar. The distance between any two adjacent frets is a half-step. Each note is represented by a letter from A to G. The distance between any two consecutive letters is a whole step - or two half-steps - EXCEPT for the distance between B and C, and E and F which are half-steps. A sharp sign (#) means to play the note one half-step higher than usual and a flat sign (b) means to play the note one half- step lower than usual.
    [Show full text]
  • Marquetry on Drawer-Model Marionette Duo-Art
    Marquetry on Drawer-Model Marionette Duo-Art This piano began life as a brown Recordo. The sound board was re-engineered, as the original ribs tapered so soon that the bass bridges pushed through. The strings were the wrong weight, and were re-scaled using computer technology. Six more wound-strings were added, and the weights of the steel strings were changed. A 14-inch Duo-Art pump, a fan-expression system, and an expression-valve-size Duo-Art stack with a soft-pedal compensation lift were all built for it. The Marquetry on the side of the piano was inspired by the pictures on the Arto-Roll boxes. The fallboard was inspired by a picture on the Rhythmodic roll box. A new bench was built, modeled after the bench originally available, but veneered to go with the rest of the piano. The AMICA BULLETIN AUTOMATIC MUSICAL INSTRUMENT COLLECTORS’ ASSOCIATION SEPTEMBER/OCTOBER 2005 VOLUME 42, NUMBER 5 Teresa Carreno (1853-1917) ISSN #1533-9726 THE AMICA BULLETIN AUTOMATIC MUSICAL INSTRUMENT COLLECTORS' ASSOCIATION Published by the Automatic Musical Instrument Collectors’ Association, a non-profit, tax exempt group devoted to the restoration, distribution and enjoyment of musical instruments using perforated paper music rolls and perforated music books. AMICA was founded in San Francisco, California in 1963. PROFESSOR MICHAEL A. KUKRAL, PUBLISHER, 216 MADISON BLVD., TERRE HAUTE, IN 47803-1912 -- Phone 812-238-9656, E-mail: [email protected] Visit the AMICA Web page at: http://www.amica.org Associate Editor: Mr. Larry Givens VOLUME 42, Number
    [Show full text]
  • Piano Manufacturing an Art and a Craft
    Nikolaus W. Schimmel Piano Manufacturing An Art and a Craft Gesa Lücker (Concert pianist and professor of piano, University for Music and Drama, Hannover) Nikolaus W. Schimmel Piano Manufacturing An Art and a Craft Since time immemorial, music has accompanied mankind. The earliest instrumentological finds date back 50,000 years. The first known musical instrument with fibers under ten sion serving as strings and a resonator is the stick zither. From this small beginning, a vast array of plucked and struck stringed instruments evolved, eventually resulting in the first stringed keyboard instruments. With the invention of the hammer harpsichord (gravi cembalo col piano e forte, “harpsichord with piano and forte”, i.e. with the capability of dynamic modulation) in Italy by Bartolomeo Cristofori toward the beginning of the eighteenth century, the pianoforte was born, which over the following centuries evolved into the most versitile and widely disseminated musical instrument of all time. This was possible only in the context of the high level of devel- opment of artistry and craftsmanship worldwide, particu- larly in the German-speaking part of Europe. Since 1885, the Schimmel family has belonged to a circle of German manufacturers preserving the traditional art and craft of piano building, advancing it to ever greater perfection. Today Schimmel ranks first among the resident German piano manufacturers still owned and operated by Contents the original founding family, now in its fourth generation. Schimmel pianos enjoy an excellent reputation worldwide. 09 The Fascination of the Piano This booklet, now in its completely revised and 15 The Evolution of the Piano up dated eighth edition, was first published in 1985 on The Origin of Music and Stringed Instruments the occa sion of the centennial of Wilhelm Schimmel, 18 Early Stringed Instruments – Plucked Wood Pianofortefa brik GmbH.
    [Show full text]
  • 282 Newsletter
    NEWSLETTER #282 COUNTY SALES P.O. Box 191 November-December 2006 Floyd,VA 24091 www.countysales.com PHONE ORDERS: (540) 745-2001 FAX ORDERS: (540) 745-2008 WELCOME TO OUR COMBINED CHRISTMAS CATALOG & NEWSLETTER #282 Once again this holiday season we are combining our last Newsletter of the year with our Christmas catalog of gift sugges- tions. There are many wonderful items in the realm of BOOKs, VIDEOS and BOXED SETS that will make wonderful gifts for family members & friends who love this music. Gift suggestions start on page 10—there are some Christmas CDs and many recent DVDs that are new to our catalog this year. JOSH GRAVES We are saddened to report the death of the great dobro player, Burkett Graves (also known as “Buck” ROU-0575 RHONDA VINCENT “Beautiful Graves and even more as “Uncle Josh”) who passed away Star—A Christmas Collection” This is the year’s on Sept. 30. Though he played for other groups like Wilma only new Bluegrass Christmas album that we are Lee & Stoney Cooper and Mac Wiseman, Graves was best aware of—but it’s a beauty that should please most known for his work with Lester Flatt & Earl Scruggs, add- Bluegrass fans and all ing his dobro to their already exceptional sound at the height Rhonda Vincent fans. of their popularity. The first to really make the dobro a solo Rhonda has picked out a instrument, Graves had a profound influence on Mike typical program of mostly standards (JINGLE Auldridge and Jerry Douglas and the legions of others who BELLS, AWAY IN A have since made the instrument a staple of many Bluegrass MANGER, LET IT bands everywhere.
    [Show full text]
  • Tolono Library CD List
    Tolono Library CD List CD# Title of CD Artist Category 1 MUCH AFRAID JARS OF CLAY CG CHRISTIAN/GOSPEL 2 FRESH HORSES GARTH BROOOKS CO COUNTRY 3 MI REFLEJO CHRISTINA AGUILERA PO POP 4 CONGRATULATIONS I'M SORRY GIN BLOSSOMS RO ROCK 5 PRIMARY COLORS SOUNDTRACK SO SOUNDTRACK 6 CHILDREN'S FAVORITES 3 DISNEY RECORDS CH CHILDREN 7 AUTOMATIC FOR THE PEOPLE R.E.M. AL ALTERNATIVE 8 LIVE AT THE ACROPOLIS YANNI IN INSTRUMENTAL 9 ROOTS AND WINGS JAMES BONAMY CO 10 NOTORIOUS CONFEDERATE RAILROAD CO 11 IV DIAMOND RIO CO 12 ALONE IN HIS PRESENCE CECE WINANS CG 13 BROWN SUGAR D'ANGELO RA RAP 14 WILD ANGELS MARTINA MCBRIDE CO 15 CMT PRESENTS MOST WANTED VOLUME 1 VARIOUS CO 16 LOUIS ARMSTRONG LOUIS ARMSTRONG JB JAZZ/BIG BAND 17 LOUIS ARMSTRONG & HIS HOT 5 & HOT 7 LOUIS ARMSTRONG JB 18 MARTINA MARTINA MCBRIDE CO 19 FREE AT LAST DC TALK CG 20 PLACIDO DOMINGO PLACIDO DOMINGO CL CLASSICAL 21 1979 SMASHING PUMPKINS RO ROCK 22 STEADY ON POINT OF GRACE CG 23 NEON BALLROOM SILVERCHAIR RO 24 LOVE LESSONS TRACY BYRD CO 26 YOU GOTTA LOVE THAT NEAL MCCOY CO 27 SHELTER GARY CHAPMAN CG 28 HAVE YOU FORGOTTEN WORLEY, DARRYL CO 29 A THOUSAND MEMORIES RHETT AKINS CO 30 HUNTER JENNIFER WARNES PO 31 UPFRONT DAVID SANBORN IN 32 TWO ROOMS ELTON JOHN & BERNIE TAUPIN RO 33 SEAL SEAL PO 34 FULL MOON FEVER TOM PETTY RO 35 JARS OF CLAY JARS OF CLAY CG 36 FAIRWEATHER JOHNSON HOOTIE AND THE BLOWFISH RO 37 A DAY IN THE LIFE ERIC BENET PO 38 IN THE MOOD FOR X-MAS MULTIPLE MUSICIANS HO HOLIDAY 39 GRUMPIER OLD MEN SOUNDTRACK SO 40 TO THE FAITHFUL DEPARTED CRANBERRIES PO 41 OLIVER AND COMPANY SOUNDTRACK SO 42 DOWN ON THE UPSIDE SOUND GARDEN RO 43 SONGS FOR THE ARISTOCATS DISNEY RECORDS CH 44 WHATCHA LOOKIN 4 KIRK FRANKLIN & THE FAMILY CG 45 PURE ATTRACTION KATHY TROCCOLI CG 46 Tolono Library CD List 47 BOBBY BOBBY BROWN RO 48 UNFORGETTABLE NATALIE COLE PO 49 HOMEBASE D.J.
    [Show full text]
  • Red Allen & Frank Wakefield WDON Recordings
    Red Allen & Frank Wakefield WDON Recordings 1963 published by BMNN on Fri, 12/26/2014 - 23:21 Printer-friendly version Patuxent has released another exciting historical album. Red Allen & Frank Wakefield WDON Recordings 1963is a collection of 22 tracks featuring Red Allan on guitar and vocals, Frank Wakefield on mandolin and vocals, Pete Kuykendall on banjo and vocals and Tom Morgan on bass and vocals. The liner notes tell the story... Red Allen, Frank Wakefield, Pete Kuykendall and Tom Morgan. These names epitomize all that is meaningful in the world of bluegrass music. The pedigrees of Harley "Red" Allen and Franklin Delano Wakefield have been well documented. Red is justly regarded as the quintessential bluegrass singer. Raw, emotive, tender when necessary; he ranks as one of the most powerful singers this music has produced. Frank Wakefield remains the true preserver of Bill Monroe's definitive understanding of how bluegrass mandolin ought to be played and has furthered his unequalled knowledge of the Monroe doctrine with an enriched vocabulary of Baroque and Classical explorations. But what has not been fully documented were the significant contributions of band mates Pete Kuykendall and Tom Morgan. Collectively. this outstanding ensemble contributed some ofthe most lasting and memorable testaments within the bluegrass idiom. Theirs was a music of passion and conviction. The availability of only one commercial recording of this band has now been addressed and serves to illuminate the prominence of these gifted performers. In 1963, Red, Frank. Pete and Tom gathered in Mr. Kuykendall's Falls Church, Virginia home studio for what turned out to be a successful relationship with radio station WDON - 1540 AM in Wheaton, Maryland.
    [Show full text]
  • Aug-Sept 2019
    The A publication by the Southwest Bluegrass Association SWBA BOARD OF DIRECTORS The Bluegrass Soundboard STAFF President Vice-President Terry Brewer Marc Nelissen Managing Editor Terry Brewer 661-364-9321 909 289 8730 661-364-9321 [email protected] [email protected] [email protected] Associate Editors Treasurer Secretary Sheila Brewer, Mark Shutts Paula De Bie Missy Lyn Gibson 951-934-3478 774-248-4128 Regular Contributors [email protected] [email protected] Eric Nordbeck,Terry Brewer, Jeanie Stanley, Membership Connie Tripp Bert Luontela. Chris Jones, Wayne Erbsen Sheila Brewer 661-305-1554 Distribution 661-364-9321 [email protected] Flo DeBie, Tom & Carol Lister, Frank & Patsy Abrahams, [email protected] Susan Brown, Dale & Cindie Linton, Ella Carter, Paula DeBie Tony Pritchett Paul Haas 661-305-7866 [email protected] The Bluegrass Soundboard Deadlines [email protected] DECEMBER JANUARY issue November 1st Louie De Bie 951-934-3478 [email protected] FEBRUARY /MARCH issue January 1st APRIL MAY issue March 1st COMMITTEE CHAIRPERSONS JUNE JULY issue May 1st AUGUST SEPTEMBER issue July 1st OCTOBER NOVEMBER issue September 1st Soundboard & Web manger Social Media Terry Brewer Terry Brewer ADVERTISING RATES Missy Lyn Gibson Single Issue Yearly SWBA Host Julie Ann Evans Full page $65 $350 Sheila Brewer Half page $35 $190 Quarter page $25 $130 SWBA Jam Host Advertising $10 $60 Howard Doering Missy Lyn Gibson Card size Marc Nelisse Martha Hall Foe more information concerning advertising Mark Shutts (including special rates and discounts) Contact Terry Brewer René Baquet Campout Host 661-364-9321 [email protected] SWBA School Program Paula De Bie SWBA Membership For member information, change of address, phone and emails.
    [Show full text]
  • Hollywood VFD to Host Annual Bluegrass Festival Fundraiser
    Hollywood VFD to host annual bluegrass festival fundraiser Posted by Alan Van Wormer On 04/15/2018 HOLLYWOOD, Md. - The Hollywood Volunteer Rescue Squad will present its annual Bluegrass Festival on Saturday May 12, 2018 at the St. Mary’s County Fairgrounds. Gates open at 11 am and the show starts at Noon. Weather permitting, the event will be held outside. All proceeds from the day’s event will go toward the Hollywood Volunteer Rescue Squad Building Fund. “Honoring tradition through innovation”, that’s Audie Blaylocks (pictured right) motto. His mellow, wailing tenor and lightning-fast guitar picking have made him one of the names to watch in the world of traditional bluegrass. There’s something in a name; and Redline, the name of Audie Blaylock’s hot-shot band, could not be more fitting. Blaylock's vision for his sound involves an occasional glance in the rear view mirror, but with a heavy foot planted firmly on the accelerator, his music has a way of driving hard into the future. Audie Blaylock’s musical journey is a familiar one in bluegrass music, having grown up in an Appalachian musical family, his musical education started early and led to him sharing the stage with some of bluegrass’ finest and most respected artists, including first generation bluegrass character and giant, Jimmy Martin, as well as Red Allen, Harley Allen, Lynn Morris, Michael Cleveland, and Rhonda Vincent. Yet a true artist is never content in the passenger’s seat, and this is where Blaylock’s path diverges from the familiar, well-beaten path on this old mountain side.
    [Show full text]
  • What's Inside
    The Official publication of the Colorado Bluegrass Music Society december 2015 Making a List and Checking it TwiceBy Jackson Earles page 3 What’s Inside: • Looking Forward and Looking Back ..........4 • Music Stores in Colorado Springs ..............5 Address Service Requested Service Address • Meet Larry Struble ........................................ 7 Wheat Ridge, CO 80034-0406 CO Ridge, Wheat Bluegrass News P.O. Box 406 Box P.O. Performance Calendar, Music Society Music Colorado Bluegrass Colorado CBMS Bands on Call & More! From The President’sXXX Desk Dear Reader, The Official publication of the o you find yourself reading a copy of this paper COLORADO BLUEGRASS MUSIC SOCIETY that you have picked up for free at one of our many A non-profit association of Bluegrass enthusiasts. music business/education outlets in the state of Colorado? If so, wouldn’t you consider joining us DECEMBER 2015 as an official CBMS member? We, like so many ****** artistic institutions that withstand the test of time, are a non-profit organization with the mission of helping to preserve P.O. Box 406, Wheat Ridge, CO 80034-0406 Dour past through the education and performance of bluegrass Web site: www.coloradobluegrass.org music. We offer Pow’r Pickin’ as a source of information, inspiration, www.facebook.com/theCBMS outreach and to connect all of our stakeholders to what is one of the Editorial E-mail: [email protected] fastest growing and most versatile musical communities in America. Advertising E-mail: [email protected] We cannot sustain this without you, however. In a world of digital CD Reviews E-Mail: cds@ coloradobluegrass.org communications and the loss of the time-honored tradition of print media, our costs have risen to a point that the organization funds COLORADO BLUEGRASS MUSIC SOCIETY BOARD of DIRECTORS: this wonderful outlet through membership and your participation.
    [Show full text]
  • Clarence Belcher Collection
    Clarence Belcher Collection The Bassett Historical Center is a non-circulating facility. Feel free to come in and listen to any selection from this music collection here at the Center. LOCAL 45s (recorded on one CD) 01 Dink Nickelston and the Virginia Buddies – (1) Henry County Blues; (2) Trying at Love Again 01 The Dixie Pals – (1) Dixie Rag; (2) Wedding Bells 01 The Dixie Pals – (1) The Model Church; (2) Pass Me Not 01 The Dixie Pals – (1) Who’ll Take Care of the Graves?; (2) Don’t Say Good-Bye If You Love Me 02 Ted Prillaman and the Virginia Ramblers – (1) There’ll Come a Time; (2) North to 81 Albums (* recorded on CD) 01 Abe Horton: Old-Time Music from Fancy Gap (vault) 01A Back Home in the Blue Ridge, County Record 723 (vault) 02* Bluegrass on Campus, Vol. 1, recorded live at Ferrum College Fiddlers Convention 02A Blue Grass Hits (Jim Eanes, The Stonemans) 03* Blue Ridge Highballers 1926 Recordings featuring Charley La Prade (vault) 04* Blue Ridge Barn Dance – Old Time Music, County Record 746 (vault) (2 copies) 04A Camp Creek Boys – Old-Time String Band (vault) 04B Charlie Poole – The Legend of, County Record 516 (vault) 04C Charlie Poole and the NC Ramblers, County Record 505 (vault) 04D Charlie Poole and the NC Ramblers, County Record 509 (vault) 05* Charlie Poole & the NC Ramblers – Old Time Songs recorded from 1925-1930 (vault) (2 copies) 05A* Charlie Poole and the NC Ramblers – Old Time Songs recorded from 1925-1930, Vol. 2 (vault) 06 Clark Kessinger, Vol.
    [Show full text]
  • Manuscript Collection the CENTER
    Manuscript Collection THE CENTER FOR POPULAR MUSIC MIDDLE TENNESSEE STATE UNIVERSITY, MURFREESBORO, TN MARVIN HEDRICK AUDIO COLLECTION 14-060 Creator: Hedrick, Marvin (1925–1973) Type of Material: Sound Recordings, Digital Files (Photographs) Physical Description: 7 boxes, including 169 manuscript audio tapes and 18 manuscript CDs 53 digital files (58.2 Megabytes) Dates: circa 1955-2001, bulk 1955-1975 RESTRICTIONS: The Center for Popular Music and Middle Tennessee State University do not claim to hold any rights to the intellectual content of the materials in this collection. All collection materials are subject to standard national and international copyright laws. If you wish to use copyrighted material from this collection that may go beyond "fair use" of such copyrighted material as provided in Title 17 U.S.C. Section 107, you must obtain permission from the copyright owner. Center staff are able to assist with copyright questions for this material. Provenance and Acquisition Information: This collection was donated to the Center by Marvin Hedrick’s sons, Gary and David, in April of 2015. Center Director, Dr. Gregory Reish, picked up the collection from Martinsville, Indiana on April 17, 2015. The digital photograph files were sent to the Center via multiple emails from Gary Hedrick on April 27, 2015. Subject/Index Terms: Bluegrass music Bluegrass musicians Bluegrass festivals “MARVIN HEDRICK AUDIO COLLECTION” 14-060 Brown County Jamboree Hedrick, Marvin Monroe, Bill, 1911-1996 Beanblossom (Ind.) Bill Monroe Memorial Music Park & Campground Agency History/Biographical Sketch: Marvin Hedrick (1925–1973) grew up on a farm near Story, Indiana, where he learned to play guitar as a boy.
    [Show full text]
  • Progressions
    PROGRESSIONS Play along slowly CIRCLE OF FIFTHS • G-E7-A7-D7-G MORE CIRCLE OF FIFTHS • D-B7-E7-A7-D • C-A7-D7-G7-C • A-F#7-B7-E7-A • F-D7-G7-C7-F • Bd-G7-C7-F-Bd • Ed-C7-F-Bd-Ed • E-C#-F#7-B7-E 1-6 minor-4-5-1 • G-EM-C-D-G • C-AM-F-G-C • D-BM-G-A-D • E-C#M-A-B-E • F-DM-Bd-C-F 4-2M-6M-3M-5-1-6M-1 • C-AM-EM-BM-D-G-EM-G • F-DM-AM-EM-G-C-AM-C • G-EM-BM-F#M-A-D-BM-D • A-F#M-C#M-G#M-B-E-C#M-E • Bd-GM-DM-AM-C-F-DM-F • D-BM-F#M-C#M-E-A-F#M-A ROCKY TOP • G-C-G-EM-D-G (Repeat) EM-D-F-C-G- F-G-F-G • C-F-C-AM-G-C (Repeat) AM-G-Bd-F-C- Bd-C-Bd-C • D-G-D-BM-A-D (Repeat) BM-A-C-G-D- C-D-C-D • E-A-E-C#M-B-E (Repeat) C#M-B-D-A- E-D-E-D-E 1-4-5-1-4-1-5-1 • G-C-D-G-C-G-D-G • C-F-G-C-F-C-G-C • D-G-A-D-G-D-A-D • E-A-B-E-A-E-B-E • F-Bd-C-F-Bd-F-C-F • A-D-E-A-D-A-E-A • B-E-F#-B-E-B-F#-B THE BASICS AND WHY THEY’RE IMPORTANT I think it’s very important to start with the basics no matter what your level.
    [Show full text]