Re: [Harp-L] Bluegrass

[Michelle LeFree <mlefree@xxxxxxxxxxxxxxxxxxxxxx>]

sheltraw@xxxxxxxxxxxx asks:
> Hi Michelle
>
> Of the four up beats (8th notes) in a measure on which do you chop?

If you are comfortable with it and it is appropriate to the song, all of 
'em. Or you might want to hit every other one or play melody or 
countermelody or harmony notes on the ones you're not chopping on as 
Dave suggested. No hard and fast rule. Listen to a lot of bluegrass, 
focusing on the mandolin. Soon your ear will be your best guide.

Bluegrass festivals are great. They typically follow a format of having 
the guest bands play several times through the event, so you get to see 
these great artists several times instead of just once. But there are a 
couple of other traditions that are also very cool. One is the breakout 
sessions in which especially talented musicians, headliners more often 
than not, lead seminars or classes on how to play their instrument of 
choice. You can learn so much about the instruments, their history and 
traditions and not least, how to play. You also learn much about the 
traditions and history of the genre (ans meet some cool folks).

Dave and I have already mentioned the after-hours campground jams. We 
didn't mention another longstanding tradition associated with them -- 
the main stage players often take part, sitting down, pickin' and 
grinnin' with the rank and file festival goers. What a treat that can 
be. I've sat down next to some very well-known players and been 
immediately accepted in spite of the fact that most any one of 'em could 
slaughter me, musically speaking. What brings everyone together at 
these  jams is their love of the genre and making music together. And, 
if you can contribute to the overall musical experience, you are more 
than welcome to join in.

Many times I've attended these breakout seminars covering instruments I 
don't play (you prolly won't find a harmonica seminar at a bluegrass 
festival ;). Both teachers and "students" share their passion for their 
instruments and are very free with advice and pointers. I've learned a 
bunch from pro mandolin players for example. Some of the intricate 
rhythms that they play are things of beauty, and with a little study 
they can be mimicked on the harp with tongue articulations.

Another time I was fascinated by a guy in one of the bands who was 
incredible at performing a hill-country tradition I'd never heard of 
called "hamboning," which amounts to rhythmically slapping various body 
parts. This guy was the Gene Krupa of hamboning. At an after-hours jam I 
took him aside, asked a couple of questions, and got a little 
extemporaneous verbal history of the various traditional ways hill 
country folk would keep rhythm. One of the ways he mentioned was playing 
rhythm bones. A couple of years later, I am a reasonably competent bone 
"rattler," and really enjoy playing them. They give me (and maybe the 
rest of the jammers ;) a rest from the harmonica, and as I've said any 
way to contribute to rhythm in bluegrass circles is welcomed, especially 
if it is traditional to the genre.

So, Ms/Mr Speltraw, since you've expressed an interest, I'd suggest 
immersing yourself in the genre, its traditions and people. And there's 
no better way to do that than attending a festival or two. Festival 
season is coming up so it's not too soon to investigate and plan ahead. 
One I can heartily recommend is the Telluride Bluegrass Festival in 
June. All the biggies will be there and Telluride, nestled amongst bald 
Rocky Mountain peaks, is a great festival venue. Bring your harps and 
don't plan on sleeping much!

Michelle