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The Sandy Spring Bluegrass Jam! If you're in the Washington, DC/Central MD area, come join the Sandy Spring Bluegrass Jam. We usually meet on the 4th Sunday of every month from 2pm-4pm at the Sandy Spring Museum. All ability levels are encouraged to attend! Advanced registration is strongly encouraged. Jam Etiquette Sandy Spring Bluegrass Jam Archives

< Back Mandolin - Ibanez M510-BS Sharon is hoping to pass this along to someone who will give it a good home and some playing time! Although not pictured, she does have the tailpiece cover that was taken off to facilitate string changes. Previous Next

< Back Roll in My Sweet Baby's Arms Previous Next Roll In My Sweet Baby's Arms .pdf Download PDF • 40KB Roll In My Sweet Baby's Arms - Nashville .pdf Download PDF • 44KB

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Nashville - I Ain't Broke (But I'm Badly Bent).pdf

< Back Guitar In bluegrass music, the guitar plays an integral part of the ensemble as the basis of rhythm and chord-structure for the songs. That's one reason why many bluegrass jams tend to follow the guitarist. As bluegrass music has formed over the years, the guitar has taken on more of a role as a melody instrument as well. Due to these roles in the ensemble, bluegrass guitarists seek guitars that are loud and have a lot of bass response - for the rhythm guitar - as well as treble presence for solos to cut through the mix of other instruments. Far Left - The Martin D-18 is an iconic bluegrass guitar. This standard model of the Martin lineup features a solid spruce top, solid mahogany back and sides, and ebony fingerboard and bridge. It is made in Martin's "dreadnought" size and has forward-shifted scalloped bracing to give it a robust sound. This guitar does not have a ton of complexity to it, so it is a good choice for the bluegrass ensemble. 2nd from Left - The Recording King RD-328 is modeled somewhat after the Martin HD-28 . It pairs a solid Adirondack spruce top with solid East Indian rosewood back and sides. The Adirondack spruce is a very stiff wood that can be played hard and responds well in a bluegrass setting. The rosewood back and sides are a very "reflective" wood that add a lot of complexity to the sound of the guitar. This is another great option for a bluegrass ensemble and is another color on your sound palette. Middle - Pono DS-20 - This is a variation on the typical square-shouldered dreadnoughts listed above. Whereas those guitars have the body meeting the neck at the 14th fret, this style moves the bridge back into a more centered position in the lower bout of the guitar. This gives it a loud, full sound but also makes the neck of the guitar shorter - meeting the body at the 12th fret. This guitar can be a good choice for musicians who want the large body size, but have difficulty reaching the neck of a 14-fret dreadnought. While it isn't as ubiquitous as the D-18 and D-28, there is some tradition of 12-fret dreadnoughts being played in bluegrass music with Norman Blake being a notable example. 2nd from Right - The Recording King ROS-11 is modeled after the Martin 000-18 and while it isn't a "typical" bluegrass guitar can be a good option for certain guitarists. It still has a relatively large body shape but the more narrow waist can make it more comfortable to play, especially for musicians with shoulder issues. It has a very balanced tone and is more commonly seen in Old Time ensembles. Far Right - Epiphone Olympic - Definitely not a typical bluegrass guitar, an archtop guitar can be a good choice for a bluegrass jam that already has a number of guitarists. The arched top and f-holes give it a sound that is punchy and occupies a different aural space than the dreadnought guitar does. That's one reason the Epiphone Olympic - made famous by Dave Rawlings - paired so well with Gillian Welch's Gibson J-50. *It is important to note that Epiphone released a modern version of the Olympic , which lacks some of the definition of its namesake. Previous Next

Gear Corner Mandolin - Ibanez M510-BS - Sharon is hoping to pass this along to someone who will give it a good home and some playing time! Although not pictured, she does have the tailpiece cover that was taken off to facilitate string changes. Resonator Guitar - Flinthill Square Neck - Here's Tito's description: For sale is a Flinthill square neck Resonator Guitar that was modified by Paul Beard. Before selling these guitars, Paul would remove the factory resonator cone, bone nut, pick up and spider bridge and replace them with the better quality parts he used in his guitars. When I was taking lessons from Mike Auldridge, he played this guitar and even he was pleased with the way it sounded. This guitar is in excellent condition having spent most of its life on a stand, the only flaw is at the base of the neck where a small section of the body has a small crack. This does not affect the guitar and has been that way as long as I have owned the guitar (24 years). What's included with the guitar: 1. TKL Guitar case 2. Sabine AX2000 contact tuner (attached to guitar body) 3. Fender Auto Chromatic LX-12 Tuner 4. 3 sets of D'Addario EJ42 Phosphorus Bronze guitar strings 5. Guitar string pro-winder and clipper 6. Dunlop 925 tone bar 7. 3 Golden Gate thumb picks & 4 ProPik finger picks 8. Guitar neck cleaner brush 9. Guitar polishing cloth 10. Rosin 11. Teach yourself Dobro book 12. Guitar shoulder strap 13. Ultra Guitar stand Everything needed to play is included, the only thing not included is your time to play it!I live in Olney and I can bring it to the Bluegrass Jam if you would like to see or play it. Banjo - Gretsch G9400 Broadkaster Deluxe - The Gretsch G9400 Broadkaster Deluxe is a 5-string resonator banjo with a flathead tone ring - a bluegrass banjo. The action is low and the head is tight for a traditional bluegrass sound. Tuning knobs have been replaced with ebony to match the black finish scheme on the back of the neck. Unique inlay on the back of the resonator. Very, very slight fret-wear and head-wear from resting fingers. Finish chip on the peghead. Comes with a ProTec banjo case. Additional photos can be seen at this craigslist link .

April 2023 < Back I Haven't Got the Right to Love You - Key of G She's Gone, Gone, Gone - Key of A If I Should Wander Back Tonight - Key of A Wrong End of This Hammer - Key of D Dim Lights, Thick Smoke (And Loud, Loud Music) - Key of E I Might Take You Back Again - Key of G I'll Fly Away - Key of D Sittin' On Top of the World - Key B Paradise - Key of D Rocky Top - Key of D Nine Pound Hammer - Key of G Wagon Wheel - Key of G Why You Been Gone So Long - Key of E Don't This Road Look Rough and Rocky - Key of G Will the Circle Be Unbroken - Key of A Previous Next

Concert Pitch - If I Lose.pdf Nashville - If I Lose.pdf

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