2020 Hall of Fame Inductees Announced
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May 2005 vol 40, No.5 April 30 Sat Songs and Letters of the Spanish Civil War, co-sponsored with and at the Peoples’ Voice Cafe May 1 Sun Sea Music Concert: Dan Milner, Bob Conroy & Norm Pederson + NY Packet; 3pm South St.Melville Gallery 4WedFolk Open Sing; Ethical Culture Soc., Brooklyn, 7pm 9 Mon NYPFMC Exec. Board Meeting 7:15pm at the club office, 450 7th Ave, #972D (34-35 St), info 1-718-575-1906 14 Sat Chantey Sing at Seamen’s Church Institute, 8pm 15 Sun Sacred Harp Singing at St. Bart’s, Manhattan; 2:30 pm 19 Thur Riverdale Sing, 7:30-10pm, Riverdale Prsby. Church, Bronx 20 Fri Bill Staines, 8pm at Advent Church ☺ 21 Sat For The Love of Pete; at Community Church 22 Sun Gospel & Sacred Harp Sing, 3pm: location TBA 22 Sun Balkan Singing Workshop w/ Erica Weiss in Manhattan 22 Sun Sunnyside Song Circle in Queens; 2-6pm 27-30 Spring Folk Music Weekend --see flyer in centerfold June 1WedFolk Open Sing; Ethical Culture Soc., Brooklyn, 7pm 2 Thur Newsletter Mailing; at Club office, 450 7th Ave, #972, 7 pm 7 Tue Sea Music Concert: Mick Moloney + NY Packet; 6pm South Street Seaport Melville Gallery 11 Sat Chantey Sing at Seamen’s Church Institute, 8pm 13 Mon NYPFMC Exec. Board Meeting 7:15pm at the club office, 450 7th Ave, #972D (34-35 St), info 1-718-575-1906 14 Tue Sea Music Concert: The NexTradition + NY Packet; 6pm 16 Thur: Sara Grey & Kieron Means; location to be announced 19 Sun Sacred Harp Singing at St. -
Folk Club of South Florida Will Have Its Next Open of Tunes She Has Collected and Shares
F O L K C L U B O F S O U T H F L O R I D A www.souflafolk.com March, 2005 Contempora ry, Traditional, Roots a nd Alternative Mus ic… and stuff like that FO__________L___K______ N______O______T___E___S_________________________________ ACOUSTIC UNDERGROUND THE SOUTH FLORDIA BLUEGRASS ASSOCIATION CONCERT SERIES PRESENTS: Presents BLUEGRASS FRIDAY th Lee Pinkerson Friday, March 11 - 8:00 P.M th Saturday, March 5 , 8:00pm Just off of the great weekend of the 27th Annual Everglades Bluegrass Festival, The Bluegrass At age 13, Lee Association of South Florida sponsors Bluegrass Friday Pinkerson at the Luna Star Café. They presented seventeen picked up a different acts at Ives Dairy for three days of fine guitar and music. And many of those acts appear regularly on headed for the Bluegrass Friday. Get here early or you might have to park. There she listen from Alexis’ kitchen cause “Nobody Don’t Like wrote songs Bluegrass”. about the birds, rivers, wildlife Y’all come. Contact: 305-235-8874 or and trees. Her [email protected] musical career Luna Star Café, 775 NE 125th Street, N. Miami, FL has let her blend her loves of nature and music. In tel: 305-799-7123. Requested Contribution: $7.00 1984 she graduated from Marlboro College in Vermont ($6.00 Members). http://southfloridabluegrass.org with degrees in environmental science and art. In the nineties, Lee attended fiddlers’ conventions in the Appalachian Mountains where she developed her now MARCH HOUSE CONCERTS championship level flat picking acoustic guitar style and GLADE’S EDGE HOUSE CONCERT - Rod MacDonald collected mountain folk songs. -
Reno-Style Workshop
that followed. And Earl Scruggs set the RENO-STYLE standard for bluegrass banjo playing on those historic Columbia recordings. This was also the band in which Lester Flatt WORKSHOP and Earl Scruggs first became acquainted and would later form the most popular bluegrass band in history. To say this was Reno Roots Part 3—The Decision an historic time is an understatement. So the question is, “What if Don took Jason Skinner the job instead of joining the army?” In 1943 a monumental event took place history. Well it’s hard to say because it would that would not only change Don Reno’s Why was this event so important? have affected so many things, especially life but the evolution of the 5-string banjo, Because his decision affected everything musical associations. The most obviously and bluegrass music forever. It was May that was to follow. When Don turned affected would have been the associations 17, 1943 that Don Reno decided to turn down the job as the first three-finger between Flatt and Scruggs and Reno and down an offer from Bill Monroe to join style banjo player for Bill Monroe, the Smiley. These legendary bands may not the Bluegrass Boys, so that he could join job went to none other than Earl Scruggs have existed if Don took the job with the US Army instead. At the time, Don’s in 1945. With the addition of this “new” Monroe. In fact we may have even have decision probably didn’t seem like such a style of banjo playing, the Bluegrass Boys ended up with Flatt and Reno instead of big deal, but looking back it was one of the exploded in popularity. -
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. -
Pam Blanchard and the Sunny Side up Band Sister Fleeta Mitchell And
MUSICAL PERFORMERS 2008 – BIOS Pam Blanchard and the Sunny Side Up Band Sister Fleeta Mitchell and trio Tabby Crabb Splinter Belly Cary Fridley and Down South Mary Lomax and Bonnie Loggins Doug and Telisha Williams A hope for agoldensummer Phil Tanner and the Skillet Lickers The Corduroy Road Lizzy Long and Llegacy Tony Bryant Packway Handle Band Pam Blanchard and the Sunny Side Up Band Athens, GA http://www.sunnysideupband.com/ Pam Blanchard is the songwriter, lead singer, and rhythm guitar player for the band. She has won two honorable mentions in the international John Lennon Songwriting contest, and has been awarded two Puffin Foundation grants for her work with and for children. The songs she writes are from a young child's perspective, and along with that comes the desire to move and interact. As you can tell by those who have written in support of the band, she is also an educator who has an amazing ability to engage a large group of children while maintaining order. The band is comprised of 5 other talented musicians: Danny Conkle, Joe Ellison, Kemp Jones, Melinda Kershner and Michael Wegner, who turn each song into a musical playground. They have produced 2 albums of music, and bring with them the ability to play in any style: jazz, bluegrass, rock, funk, reggae, blues . They also bring the sounds of over 13 instruments to young ears: drums, conga, percussion, keyboard, bass, acoustic and electric guitars, banjo, mandolin, harmonica, saxophone, flute and clarinet. To top it off, they add 3-part harmony. Last year, they produced an original play which featured their music, 70 local school children, and was performed for 3 sold-out school shows at the Oconee County Civic Center. -
RENO-STYLE WORKSHOP Arthur Wrote and Recorded the Infamous Feuding Banjos, Aka Dueling Banjos
RENO-STYLE WORKSHOP Arthur wrote and recorded the infamous Feuding Banjos, aka Dueling Banjos. Don Reno Roots, Part 2: Arthur “Guitar Boogie” Smith thought so much of Arthur that he said it took him nearly two weeks to get up the Jason Skinner nerve to quit The Crackerjacks. Although Last time we began to explore the Red Smiley in 1951. But Reno and Smiley his time with Arthur was relatively musical roots of Don Reno with one of were a “recording group only” during this short, the impact Arthur had on Don was his first influences, old-time fiddle tunes. period. So needing a steady pay check, Don tremendous. In my opinion, Arthur Smith Now let’s move up the time line to about returned to work for Arthur Smith in 1952, is the most significant influence in Don 1941. It was here that Don first joined and remained with him until May, 1955, Reno’s early musical development. You “Arthur Smith and His Crackerjacks.” Don when Reno and Smiley became a full-time can hear a little bit of Arthur in everything stayed with Arthur until the Crackerjacks band. During their time together, Don and Don plays. disbanded in 1943. Later that year Don joined the Army. After Don returned Little Rock Getaway chord positions: home from serving his country, he joined ^^^^ C E7 Am C7 F A7 Dm B°7 C Am D G C G7 F Fm Bill Monroe in 1948. He remained a Rzz>zzzzz<zzzzz:zzzzz8zzzzz7zzzzz5zzzzzz<zzzzzz6zzzzzz:zzzzz7zzzzz4zzzz5zzzzz:zzzz9zzzzz?zzzz?zzW Tzz=zzzzz<zzzzz:zzzzz8zzzzz6zzzzz5zzzzzz:zzzzzz6zzzzzz8zzzzz5zzzzz3zzzz3zzzzz8zzzz8zzzzz=zzzz=zzU Bluegrass Boy for a little -
Baldwin Haney Essay For
The Singing on the Mountain By Dave Haney and Lisa Baldwin This essay was composed for the project Worth 1,000 Words: Essays on the Photos of Hugh Morton, made possible in part by a grant from the North Carolina Humanities Council, a statewide nonprofit and affiliate of the National Endowment for the Humanities. The Hugh Morton Collection of Photographs and Films is held by the North Carolina Collection Photographic Archives, Wilson Library at the University of North Carolina at Chapel Hill. Haney is the former Vice Provost for Undergraduate Education and Professor of English and Appalachian Studies at Appalachian State University (now Provost at Black Hills State University in South Dakota), as well as a musician and author on topics of philosophy, literature, and bluegrass music. Lisa Baldwin is a recent graduate of the MA program in Appalachian Studies at Appalachian State University, has taught elementary school for 30 years, is the founder of “Learning Through Song,” a music education program, and is a musician and songwriter who performs with Dave Haney and others. Although our current understanding of traditional music festivals is shaped by the folk and bluegrass festivals that blossomed in the 1960s, both secular and religious traditional music had been performed in large outdoor settings in the Blue Ridge Mountains much earlier. Many of the largest of these events had inauspicious beginnings. On the secular side, the Annual Old Fiddler’s Convention in Galax, Virginia, according to the convention’s official web site, was started in 1935 by Moose Lodge #733 in order to raise funds and preserve regional musical traditions, and has since grown to one of the world’s largest fiddler’s conventions. -
Hillbilly Music and the Roots of Bluegrass Guitar
Gregory N. Reish Chicago College of Performing Arts Roosevelt University Hillbilly Music and the Roots of Bluegrass Guitar READING COPY ONLY The guitar is an instrument that seems to need defending in bluegrass, as Bill Monroe once did by affirming its central importance to the music’s ensemble sound. “It don’t only take the fiddle or the banjo,” Monroe pointed out; “the guitar man, he’s got to learn too. It’s a style. A guitar means as much in a bluegrass band as anything else.”1 Indeed, the instrumental character of bluegrass has traditionally been defined by its original lead instruments, the fiddle, banjo, and mandolin, the last of which Monroe’s modesty may have prevented him from including in his comment. Yet even before the guitar began to emerge as a full-fledged lead instrument in the 1960s, its ubiquity in early bluegrass music bespeaks the essential role it played. And just as bluegrass evolved from the hillbilly music of the 1920s and 1930s, itself multifarious in style and repertory, so too did the essential elements of bluegrass guitar. One of the guitar’s primary functions in hillbilly music was to provide simple, unobtrusive accompaniment to singing by means of open-position chords and rudimentary bass motion. Jimmie Rodgers, whose guitar skills were scarcely polished or sophisticated, nevertheless exerted a tremendous influence with the understated effectiveness of his self-accompaniment. His “Blue Yodel #12,” recorded just a week before his death in May 1933, demonstrates all of the essential elements of his style (which -
Banjo Camp North Class Descriptions
Preliminary Schedule- Subject to Change Guide to “Skill Levels” Skill Levels: N: Novice B: Beginner AB: Advancing Beginner I: Intermediate A: Advanced These abbreviations are often combined. N-B means Novice to Beginner; AB-I means Advancing Beginner to Intermediate; etc. Below is a description of each skill level. Please keep in mind that there’s some overlap between levels. During registration on Friday, you may want to attend "Find Your Level" where instructors advise campers, one-on-one, on their level. Novices (N) are absolute beginners, just starting out. They may have only recently acquired an instrument, don’t know how to tune and have yet to learn any technique. Beginners (B) are able to tune and have learned a few basic techniques, a couple chords, maybe a rudimentary picking method. They may know a few songs but still don’t pick out tunes on their own or have much experience playing with other people. Advancing Beginners (AB) have been practicing for some months, perhaps a year. They’re comfortable tuning and have command of fundamental techniques. They’ve been learning to play simple melodies and can play along with a number of tunes and may even have started jamming. Intermediates (I) have likely been jamming on a regular basis. They’re familiar with a sizeable repertoire, recognize chord changes and play solos routinely. They may not yet play up to speed and may still need to work on their timing and tone as well as their understanding of music theory. Many read tab but could use help arranging tunes on their own and more experience improvising. -
Banjo Attitudes
Banjo Attitudes Biographies - Autobiographies G. De Smaele, 2016 Les interviews sont des sources directes, de première main, et c’est dans les notes d’accompagnement des disques, ainsi que dans les périodiques spécialisés que l’on retrouvera quantités d’informations précises sur les musiciens. De surcroit, il existe bon nombre de biographies et d’autobiographies à propos – ou de la plume – de quelques grands banjoïstes. D’autres personnalités – telles que Alan Lomax, Charles Seeger, Moses Asch… - gravitent autour d’eux et sont reprises dans Banjo Attitudes. Moe Asch GOLDSMITH Peter, Making People’s Music: Moe Asch and Folkways Records, Washington and London, Smithsonian Institution Press, 1998, 468 p. Bob Black BLACK Bob, Come Hither to Go Yonder, Playing Bluegrass with Bill Monroe, Chicago IL, University of Illinois Press, 2005, 208 p. Alfred Cammeyer CAMMEYER Alfred, My Adventuresome Banjo, London, Cammeyer, 1934, 335p. Elisabeth A. CARLSON CARLSON Elisabeth A., North Carolina Strin Band Masters: Old- Time and Bluegrass Legends, The History Press, 2016. Joseph Cave Autobiography ? Frank Converse HELLER Paul C., A History of the Banjo. Frank Converse’s Banjo Reminiscence, Create Space Independent Publishing Platform, 2011, 150 p. Jimmy Cox COX Jimmy, Five On Five, From Kentucky to Maine. A Memoir by Jimmy Cox as Told to Dev Devereux, 2011, 134 p. J.D. Crowe GODBEY Marty, Crowe on the Banjo: the Music Life of J.D. Crowe, Chicago IL, University of Illinois Press, 2011, 240 p. The Delmore Brothers DELMORE Alton, Truth is stranger than Publicity, Nashville TN, Country Music Foundation Press, 1977, 188 p. Dwight Diller STERN Lewis M., Dwight Diller: West Virginia Mountain Musician, Mc Farland & Co, 2016, 216 p. -
UPDATED A.C.T. Tablist (Pdf)
Accurate Custom Tablature ™ This list consists of over 900 banjo transcriptions previously ordered by A. C. T. customers. This page describes the features of the list and how to order. ● EXAMPLE OF AN ENTRY IN THE LIST: 1. 2. 3. 4. 5. TITLE POSITION PLAYER/ARR. PAGES COMMENTS LOW AND LONELY G EDDIE SHELTON 1 UP -NECK 1. Title of tune. - Some songs are known by more than one title. Example: “The Ballad of Jed Clampett” is sometimes referred to as “The Beverly Hillbillies.” Ocassionally, if a tab is not on the list, you may find it under another title. 2. Position out of which piece is played. Not necessarily the key from the recording. - Example: Though a song may be in the key of A, it may played out of the open G position with a capo at the 2 nd fret. This would be listed as "G position." You can can decide about capo usage. - With common "open G tuning" G, C, and D are the most common open positions. G and C positions use open G tuning. D position also uses G tuning, but also usually capos the 5 th string up to an A note at the 7th fret. - Other tunings such as D tuning (a D F# A D) or C tuning (g C G B D) are noted. - The actual key of the song along with capo -ing information is noted on each tab. 3. Name of player on the recording from which this piece was transcribed. (if known - that is if supplied by customer) - Where the name “Steve Garner” appears, these are customer ordered solos custom arranged by Steve Garner. -
David Reed Memories of Ola Belle Reed
These reminisces by DAVID REED, musician and son Ola Belle Reed, were supplied to the Library of Congress on April 3, 2019 Album cover; David Reed at far right One day in either September or October 1972, we received a call from a man named Gei Zantzinger. He said he wanted to do some recording of Ola Belle and family which, at that time, included Ola Belle; her bother, Alex; her husband, Bud; and her son, David, plus other musicians of her choice. She chose John Miller, on fiddle, and Alan Reed (no relation to Ola Belle), on clawhammer banjo. So when we came together on a date to start the recordings, we loaded our instruments and took off toward Gei’s to make it happen. When we got there, we drove down Gei’s lane to his house. From what I remember, it was a dirt road. When we arrived at his house we got a glimpse of a stone house from what I recall. Gei greeted us with open arms of joy, kindness [and] with the utmost respect. Before we went in, we had no idea what kind of studio equipment or set-up Gei had. When we entered the door, to the left was his living room. Off to the right at the end of the living room was a track reel-to-reel recorder sitting pretty in the corner. I don’t remember what kind it was but it looked so cool to me. He must have had a small mixer for all the mics he used.