< Back 'Til the End of the World Rolls 'Round Previous Next 'Til the End of the World Rolls 'Round .pdf Download PDF • 41KB 'Til the End of the World Rolls 'Round - Nashville .pdf Download PDF • 46KB

< Back Blue Ridge Mountain Blues Previous Next Blue Ridge Mountain Blues - Transposed .pdf Download PDF • 41KB Blue Ridge Mountain Blues - Concert Pitch .pdf Download PDF • 35KB Blue Ridge Mountain Blues - Nashville .pdf Download PDF • 45KB

November 2022 < Back New River Train - Key of D I've Been All Around This World - Key of D Christmas Time's A-Comin' - Key of D I'm Movin' On - Key of G Long Journey Home - Key of G Angelina Baker - Key of D Little Cabin Home on the Hill - Key of G Wildwood Flower - Key of C Detour - Key of D Road to Malvern - Key of G Don't that Road Look Rough and Rocky - Key of G Jambalaya - Key of C Roll in My Sweet Baby's Arms - Key of G The Old Home Place - Key of G Mamma Tried - Key of D Jingle Bells - Key of G Previous Next

May 2024 < Back Steel Rails - Key of D Dooley - Key of G Lonesome Valley - Key of G The Old Hometown - Key of G I'll Fly Away - Key of C Red Clay Halo - Key of G Are You Missing Me - Key of G Tennessee Waltz - Key of C Just A Closer Walk With Thee - Key of C Freight Train - Key of D If I Should Wander Back Tonight - Key of G Down Where the River Bends - Key of G The Sinking of the Reuben James - Key of C Little Cabin Home on the Hill - Key of G I Still Miss Someone - Key of G Will the Circle Be Unbroken - Key of A Previous Next

Nashville - I Saw the Light.pdf

Concert Pitch - Think of What You've Done.pdf Nashville - Think of What You've Done.pdf

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

Dobro/Resonator Capos Shubb C6b - This is often the "first" capo for dobro players because it is so similar in form to a traditional guitar capo - in cost as well . One major advantage to this style capo is that the brass bar sits on top of the fret so it is always accurately lined up to play in tune. A considerable disadvantage is that each capo needs to be adjusted and set up for the guitar it is going to be used on. If you're using a Shubb, consult their website to make sure it is properly adjusted for the resonator guitar on which it's being used. Charlie's Slide Pro Capo - This capo ignores the neck of the guitar and attaches directly to the strings. Charlie's capo also has great one-handed adjustment with the wedge mechanism it uses to tighten the capo to the strings. It is small but heavy - a good thing - to get the most tone out of the instrument. Since it is attached only to the strings, a tuner - or very good ear - is essential to making sure it is positioned in the correct place. Sometimes perspective can cause it to be askew. It is expensive, but is sold directly from the manufacturer so there's never the hunt to find it "in stock" somewhere. *Not Pictured - Beard Wave Capo - This capo functions in a similar manner to Charlie's. The main difference is that the Beard Wave uses a screw/wheel to tighten the capo to the strings. This capo is a little more refined looking than Charlie's, is slightly more affordable, but can be difficult to find "in stock" at this time.

Nashville - Going to the Races.pdf

< Back Jambalaya Previous Next Jambalaya .pdf Download PDF • 41KB Jambalaya - Nashville .pdf Download PDF • 45KB

Concert Pitch - Bootleg John.pdf Nashville - Bootleg John.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