< 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 Cold, Lonely, and Blue Previous Next Cold, Lonely, and Blue - Transposed .pdf Download PDF • 50KB Cold, Lonely, and Blue - Concert Pitch .pdf Download PDF • 44KB Cold, Lonely, and Blue - Nashville .pdf Download PDF • 53KB

< Back My Home's Across the Blue Ridge Mountains Previous Next My Home's Across the Blue Ridge Mountains .pdf Download PDF • 39KB My Home's Across the Blue Ridge Mountains - Nashville .pdf Download PDF • 44KB

< Back Are You Waiting Just for Me Previous Next Are You Waiting Just For Me - Transposed .pdf Download PDF • 41KB Are You Waiting Just For Me - Concert Pitch .pdf Download PDF • 34KB Are You Waiting Just For Me - Nashville .pdf Download PDF • 44KB

< Back Banjo Capo Choosing a banjo capo is an important decision when playing in a group. Using a capo on a banjo is important when playing in a jam session. Song keys are often changed to fit the vocal range of the singer. A capo permits the player to quickly change keys while keeping chords, fingerings, and picking patterns the same. Paige Original Banjo Capo - This "yoke" style capo works particularly well on banjos. Since most banjos have a flat fingerboard radius, the centered yoke style puts equal pressure on the strings. This capo stores behind the nut when not in use. It usually requires two hands to operate effectively. It is a simple design, but works very effectively on a wide variety of instruments. Paige Clik Banjo Capo - A similar style to the original, this capo has a built-in tension release - their "Clik" system. It is similar in function in all other ways. Strum Hollow 5th String Capo - Since 5-string banjos have a short 5th string, they need a separate capo for just that one string. While some techniques are tried and true - like tapping in miniature railroad spikes that the 5th string can be hooked under - this little device requires no modifications to the banjo. The string slides into the brass slot and the thumb wheel is tightened to keep it from moving. The thumb screw is white plastic, but can be colored in with a permanent marker to make it less conspicuous. When not in use, it can be stored past the nut - attached to a string. *Not pictured - Shubb C5b Capo - This lever-action banjo capo is loved by many but lacks the ability to be stored on the banjo when it is not in use. Previous Next

< 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

March 2024 < Back White Freight Liner Blues - Key of G My Old Kentucky Home - Key of G Sittin' on Top of the World - Key of G This Land is Your Land - Key of G Toy Heart - Key of G Dark Hollow - Key of G Jambalaya - Key of C Mountain Dew - Key of G Wildwood Flower - Key of A Coal Tattoo - Key of Em Blue Eyes Crying in the Rain - Key of C Colleen Malone - Key of A Will the Circle Be Unbroken - Key of G Previous Next

< Back Bury Me Beneath the Willow Previous Next Bury Me Beneath The Willow - Transposed .pdf Download PDF • 41KB Bury Me Beneath The Willow - Concert Pitch .pdf Download PDF • 35KB Bury Me Beneath The Willow - Nashville .pdf Download PDF • 44KB

< Back Mandolin With Bill Monroe being known as a mandolin player, it is an instrument that finds a welcome home in bluegrass jams. It serves as both a melody instrument and as an important rhythmic instrument. There are many different types of mandolins but due to their style of construction, there are two main types that tend to be used in bluegrass music - A-style and F-style. If you're just starting out, an A-style mandolin will offer higher quality at a more affordable price-point. The main thing to seek in a mandolin is solid wood construction. The top should be hand-carved solid spruce while the backs and sides should be solid maple. Additionally, a bluegrass mandolin should have f-holes as these add to the traditional sound. Left - Eastman MD605 - This model is several years old and there have been some cosmetic changes. It is made with a solid sprue top, solid maple back and sides, and ebony fittings as well as an internal pickup. Right - Eastman MD305 - This is Eastman's most affordable model and is well-loved. Although it comes with a matte finish - which is a little "loud" when it rubs - it can be buffed to a semi-gloss. *Not Pictured - Eastman MD315 - This is Eastman's most affordable F-style mandolin. Again, if money is a consideration, the A-style is the way to go. Other reputable entry brands are Kentucky , Gold Tone , and The Loar . Previous Next

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