Traditional bluegrass

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Traditional bluegrass, as the name implies, emphasizes the traditional elements of bluegrass music, and stands in contrast to progressive bluegrass. Traditional bluegrass musicians play folk songs, tunes with simple traditional chord progressions, and on acoustic instruments of a type that were played by bluegrass pioneer Bill Monroe and his Blue Grass Boys band in the late 1940s. Traditional bands may use their instruments in slightly different ways, for example by using multiple guitars or fiddles in a band.

In some traditional bluegrass bands, the guitar rarely takes the lead, instead acting as a rhythm instrument, one notable exception being gospel-based songs. Melodies and lyrics tend to be simple, often in the key of G, and a I-IV-V chord pattern is common. Although traditional bluegrass performers do not use electrically amplified instruments, as used in other forms of popular music, it is common practice to "mike" acoustic instruments during stage performances before larger audiences.

Bill Monroe's mandolin playing style and Kenny Baker's fiddling set the standard for traditional bluegrass musicians on those instruments. Earl Scruggs is recognized as the developer of bluegrass three finger style banjo playing. [1]

There are ideological divisions even among traditional bluegrass bands. These divisions center on the longstanding debate about what constitutes "Bluegrass Music". A few traditional bluegrass musicians do not consider progressive bluegrass to truly be "bluegrass", some going so far as to suggest bluegrass must be styled directly after Bill Monroe's bands. However, stylistic divergences in traditional bluegrass generally center on which first generation bands from which contemporary musicians have drawn inspiration. Examples include bands who sing in the Stanley Brothers tradition: Roy Lee Centers, Larry Sparks, Sammy Adkins, The Fields Bros, The Wilson Brothers, The Gillis Brothers and various local bands across the country. Other bands followed Lester Flatt, such as Willis Spears, Curley Seckler and Karl Shifflett. Mac Wiseman's "crooning" style of Bluegrass engendered Hylo Brown and Sid Campbell. The Osborne Brothers have followers in Larry Stephenson as well as the Grascals. Frank Necessary, Blue Maggie and Hud Hadley were strongly influenced by Jimmy Martin.

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The banjo is a stringed instrument with a thin membrane stretched over a frame or cavity to form a resonator. The membrane is typically circular, and usually made of plastic, or occasionally animal skin. Early forms of the instrument were fashioned by African Americans in the United States. The banjo is frequently associated with folk and country music, and has also been used in some rock, pop and hip-hop. Several rock bands, such as the Eagles, Led Zeppelin, and The Allman Brothers, have used the five-string banjo in some of their songs. Historically, the banjo occupied a central place in Black American traditional music and the folk culture of rural whites before entering the mainstream via the minstrel shows of the 19th century. Along with the fiddle, the banjo is a mainstay of American styles of music, such as Bluegrass and old-time music. It is also very frequently used in traditional ("trad") jazz. Banjo is also a common instrument for Caribbean genres like Biguine, Calypso and Mento.

Rhythm guitar Guitar used to provide rhythm

In music performances, rhythm guitar is a technique and role that performs a combination of two functions: to provide all or part of the rhythmic pulse in conjunction with other instruments from the rhythm section ; and to provide all or part of the harmony, i.e. the chords from a song's chord progression, where a chord is a group of notes played together. Therefore, the basic technique of rhythm guitar is to hold down a series of chords with the fretting hand while strumming or fingerpicking rhythmically with the other hand. More developed rhythm techniques include arpeggios, damping, riffs, chord solos, and complex strums.

Bill Monroe American bluegrass musician, songwriter

William Smith Monroe was an American mandolinist, singer, and songwriter, who created the bluegrass music genre. Because of this, he is often called the "Father of Bluegrass".

Bluegrass music Genre of American roots music and sub-genre of country music

Bluegrass music is a genre of American roots music that developed in the 1940s in the Appalachian region of the United States. The genre derives its name from the band Bill Monroe and the Blue Grass Boys. Unlike mainstream country music, bluegrass is traditionally played on acoustic stringed instruments. Bluegrass has roots in traditional English, Scottish, and Irish ballads and dance tunes and in traditional African-American blues and jazz. Bluegrass was further developed by musicians who played with Monroe, including 5-string banjo player Earl Scruggs and guitarist Lester Flatt. Monroe characterized the genre as: "Scottish bagpipes and ole-time fiddlin'. It's a part of Methodist, Holiness and Baptist traditions. It's blues and jazz, and it has a high lonesome sound."

Earl Scruggs American musician

Earl Eugene Scruggs was an American musician noted for popularizing a three-finger banjo picking style, now called "Scruggs style", which is a defining characteristic of bluegrass music. His three-finger style of playing was radically different from the traditional way the five-string banjo had previously been played. This new style of playing became popular and elevated the banjo from its previous role as a background rhythm instrument to featured solo status. He popularized the instrument across several genres of music.

Ralph Stanley American bluegrass musician and singer

Ralph Edmund Stanley was an American bluegrass artist, known for his distinctive singing and banjo playing. Stanley began playing music in 1946, originally with his older brother Carter Stanley as part of The Stanley Brothers, and most often as the leader of his band, The Clinch Mountain Boys. He was also known as Dr. Ralph Stanley.

Rhythm section Group of musicians within a music ensemble or band

A rhythm section is a group of musicians within a music ensemble or band that provides the underlying rhythm, harmony and pulse of the accompaniment, providing a rhythmic and harmonic reference and "beat" for the rest of the band. The rhythm section is often contrasted with the roles of other musicians in the band, such as the lead guitarist or lead vocals whose primary job is to carry the melody.

Tony Rice American musician (1951–2020)

David Anthony Rice, known professionally as Tony Rice, was an American guitarist and bluegrass musician. He was an influential acoustic guitar player in bluegrass, progressive bluegrass, newgrass and acoustic jazz. He was inducted into the International Bluegrass Music Hall of Fame in 2013.

Jimmy Martin American bluegrass singer

James Henry Martin was an American bluegrass musician, known as the "King of Bluegrass".

Peter Rowan American musician

Peter Rowan is an American bluegrass musician and composer. Rowan plays guitar and mandolin, yodels and sings.

Czech Bluegrass is Czech interpretations of bluegrass music that emerged during the middle of the twentieth century in the southeastern United States.

Flatpicking Playing technique on the guitar

Flatpicking is the technique of striking the strings of a guitar with a pick held between the thumb and one or two fingers. It can be contrasted to fingerstyle guitar, which is playing with individual fingers, with or without wearing fingerpicks. While the use of a plectrum is common in many musical traditions, the exact term "flatpicking" is most commonly associated with Appalachian music of the American southeastern highlands, especially bluegrass music, where string bands often feature musicians playing a variety of styles, both fingerpicking and flatpicking. Musicians who use a flat pick in other genres such as rock and jazz are not commonly described as flatpickers or even plectrum guitarists. As the use of a pick in those traditions is commonplace, generally only guitarists who play without a pick are noted by the term "fingerpicking" or "fingerstyle".

Bill Keith (musician) Musical artist

William Bradford "Bill" Keith was a five-string banjoist who made a significant contribution to the stylistic development of the instrument. In the 1960s he introduced a variation on the popular "Scruggs style" of banjo playing which would soon become known as melodic style, or "Keith style".

Joseph Calvin "Butch" Robins is an American five-string–banjo player with his own, distinct style. He's an individualist and, according to himself, "a seeker of information, knowledge and wisdom."

Charles Cline, was an American bluegrass fiddler and multi-instrumentalist, known for being the sideman of several legendary bluegrass groups from the 1950s and well into the 1980s.

Banjo roll Bluegrass music picking pattern

In bluegrass music, a banjo roll or roll is a pattern played by the banjo that uses a repeating eighth-note arpeggio – a broken chord – that by subdividing the beat 'keeps time'. "Each ["standard"] roll pattern is a right hand fingering pattern, consisting of eight (eighth) notes, which can be played while holding any chord position with the left hand."

Benjamin Horace Williams was an American bluegrass musician. A multi-instrumentalist, he sang and played fiddle, guitar, banjo, autoharp, and mandolin.

Bluegrass mandolin

Bluegrass mandolin is a style of mandolin playing most commonly heard in bluegrass bands.

In music, a chop chord is a "clipped backbeat". In 4
4
: 1 2 3 4. It is a muted chord that marks the off-beats or upbeats. As a rhythm guitar and mandolin technique, it is accomplished through chucking, in which the chord is muted by lifting the fretting fingers immediately after strumming, producing a percussive effect.

The chop is analogous to a snare drum beat and keeps the rhythm together and moving. It's one of the innovations bluegrass inventor Bill Monroe pioneered, and it gave the music a harder groove and separated it from old-time and mountain music.

Mandolins in North America

The mandolin has had a place in North American culture since the 1880s, when a "mandolin craze" began. The continent was a land of immigrants, including Italian immigrants, some of whom brought their mandolins with them. In spite of the mandolin having arrived in America, it was not in the cultural consciousness until after 1880 when the Spanish Students arrived on their international performing tour. Afterwards, a "mandolin craze" swept the United States, with large numbers of young people taking up the instrument and teachers such as Samuel Siegel touring the United States. The fad died out after World War I, but enough had learned the instrument that it remained. The mandolin found a new surge with the music of Bill Monroe; the Gibson F-5 mandolin he played, as well as other archtop instruments, became the American standard for mandolins. Bowlback mandolins were displaced. The instrument has been taken up in blues, bluegrass, jug-band music, country, rock, punk and other genres of music. While not as popular as the guitar, it is widespread across the country.

References

  1. Trischka, Tony, "The Mainstream", in Banjo Song Book, Oak Publications, 1977