Bile 'Em Cabbage Down, Cabin Home on the Hill, Cripple Creek, Soldier's Joy, Liberty, St. Anne's Reel, Clinch Mountain Backstep, Mississippi Sawyer, Sugarfoot Rag, Salty Dog Blues, Salt Creek, Old Joe Clark, Ragtime Annie, Golden Slippers, Blue Grass Stomp, New Five Cents, Spinning Wheel, Road to Columbus, Gold Rush, Wheel Hoss, John Henry, Blackberry Blossom, East Tennessee Blues, Pike County Breakdown, Wildwood Flower, Blue Moon of Kentucky, Amazing Grace in G, Amazing Grace in E, Kentucky Waltz, Lonesome Road Blues, Foggy Mountain Breakdown, Jerusalem Ridge
Topics covered: Relaxing, Holding the Mandolin, The Pick, Picking, Tuning, Fretting, Pick Direction, Practicing, Mandolin Setup, Strings, Caring for Your Mandolin, Reading Tablature, Chords, Playing Rhythm, Tremolo, Chord Reference, Coordination / Warm-up Exercises, A Note on Listening, Selected Roland White Discography, 18 photos
• 14 songs and tunes with variations, in notation and tablature
• Detailed instruction with tab examples and exercises
• 30 page biography with photos
• Disc 1: Clarence’s original recordings plus CD-ROM video of Clarence playing two tunes close-up
• Disc 2: Rhythm tracks: Play along at slow or fast tempo with Roland White on guitar and Missy Raines on bass
Songs: Shady Grove, Sally Goodin, Flop-eared Mule, Banks of the Ohio, Wildwood Flower, Billy in the Lowground , Black Mountain Rag, Pretty Polly, Under the Double Eagle, Footprints in the Snow, Bury Me Beneath the Willow, Nine Pound Hammer, Farewell Blues, In the Pines
Scope: This book/CD set presents Clarence's early but fully realized acoustic guitar style, as demonstrated in the recordings he made at home in 1962. These songs were included in the "33 Acoustic Guitar Instrumentals" CD. The book focuses on the core elements of his early style. Our intent is to provide an entry point for intermediate players to understand and begin to play in this style, and to impart the flavor of Clarence's early musical environment.
10 classic Christmas carols and songs for mandolin, in notation & tablature. Songbook section with lyrics, mandolin & guitar chord diagrams. Shows easy two-finger chords and also closed position chords, has simple beginner tabs, plus "step up" versions with easy double stops. For beginners it's a great introduction to the mandolin, while advanced players will be challenged to master the nuances. CD has melody tracks w/separated mandolin & guitar, play-along tracks, oral instruction on tremolo and technique. A super package for all levels.
10 classic Christmas carols and songs arranged for mandolin, in notation & tablature. Songbook section with full lyrics, mandolin & guitar chord diagrams. Easy two-finger open chords, closed position chords, additional simple versions in tab for beginners, plus several "step up" versions with simple double stops added. Beginners will find this a great introduction to the mandolin and advanced players will be challenged by the subtleties of Roland’s playing. CD has melody tracks w/separated mandolin & guitar, rhythm tracks, oral instruction on tremolo and technique. A super package for all levels.
Review by Terence Pender. Reprinted with permission from Dec. 2003 issue of Mandolin Magazine.
This 44-page book contains ten Christmas classics arranged for the mandolin. The book is laid out in two sections. The first section includes an introduction, technical notes, and a few exercises. Next come arrangements of all ten tunes in both standard musical notation and tablature. These arrangements include chord charts for mandolin above the music and the words to each song.
These are excellent renditions of some of the best-loved Christmas songs. The melody on each piece is supported by a nice selection of double stops and chords that both enrich and fill out each selection. The book is obviously ideal for those who want to learn these holiday favorites, but it also contains example after example of how to harmonize a melody - ideas that could be applied to mandolin music of any style. Once you become familiar with Roland's approach to filling out a melody, you'll be able to start creating your own arrangements of any melody. This method of identifying the melody and chords and then harmonizing the material follows the same pattern laid out so well in Roland's first book, Roland White's Approach to Bluegrass Mandolin.
The second part of the book features another pass through each tune, but with an eye toward playing and singing the songs with a guitar-playing friend. On the left hand page are the words with the appropriate mandolin chords, and on the right hand page are the words with guitar chords. At the bottom of the page is a mandolin version of the song, this time in tab only. On the left hand page is a simple version of the melody, and on the opposite page, the version is filled out with a few double stops. In this section, each selection takes this two-page format so that both guitarist and mandolinist can easily play and sing from the same book without having to turn any pages. Likewise, the first section is also laid out so that there are never any awkward page turns, making this an ideal volume for those of you who may be doing some holiday entertaining.
To complement this wonderful folio, each selection is played on an accompanying CD. Each song is played twice. The first time through, Roland plays the main arrangement of the song as it is laid out in part one of the book. Roland is on the mandolin and Diane accompanies on the guitar. Then Roland and Diane play through all of the tunes again, this time playing rhythm so that you can play along with their accompaniment. This is another fine installment in what is shaping up to be a nice series of books from Roland and Diane. They have two more publications planned for release over the next few years: Clarence White's Guitar Transcriptions and Roland White's Approach to Mandolin Backup. This one is highly recommended.
Songs: Jingle Bells in G and C, We Three Kings in Dm and Am, Deck the Halls in E and G,What Child Is This? in Em and Gm, It Came Upon The Midnight Clear in G and D, We Wish You a Merry Christmas in G and D, Silent Night in A and E, Joy to the World in D and G,Silver Bells in A and E, O Little Town Of Bethlehem in D and G
If you've never played a mandolin before, this is a great way to start. The settings have lots of two-finger chords for mandolin, with open strings. You can play through several of these tunes with only two fingers and they'll sound great--the open ringing sound of the mandolin is wonderful for Christmas songs! Also included are some three-finger chords that you should learn, and the neat thing is you don't have to move much to change between most of these chords. Players of all levels will learn a few new chord moves. Nowhere is there a "stretch" chord. The greatest reach in these chords is four frets. You can back up these songs nicely without ever having to stretch your pinky to the far side of the fretboard. Guitar chords, also clearly diagrammed with fingering, are provided for the same songs in the same keys in the same order as the mandolin chord book--so it should be easy to convince a friend to play along with you! Guitar chords are in a separate pdf document.
This handy songbook contains lyrics, chords and melody to 150 all-time favorite bluegrass songs, including 50 gospel songs, as well as many "new" bluegrass songs. Printed in large, easy-to-read type with one song per page in alphabetical order, this book is excellent for use on stage or in jam sessions. Also includes chord charts for the guitar, banjo, and mandolin, a transposition guide, and a listing of currently available recordings of each song. Now all those obscure verses you can never remember are right at your fingertips. This book DOES NOT contain tablatures for any instrument. 153 pages. By Bert Casey.
Featuring a broad range of some of today's most talked-about acoustic musicians and singers, the project offers a new take on the magic of the original music made by the Colonels in key live and studio recordings from the early 1960s.
The Kentucky Colonels -- with the line-up Roland first formed in 1954 -- became one of roots music's most iconic bands. It is only now, decades later, that we can see the strong threads of musical influences the group has had on bluegrass and the greater acoustic music world. Acknowledging that influence-- and White's career-long generosity to younger musicians -- this special project from Mountain Home Music Company produced by Ty Gilpin and Jon Weisberger, set out to join the pioneering artist with a myriad of today's players who both respect the legacy of White and the Kentucky Colonels and do justice to it by capturing the excitement, instrumental prowess, and emotionally delivered vocal performances for which the Colonels were known.
With artists Brooke and Darin Aldridge, Kristin Scott Benson, Aaron Bibelhauser, Russ Carson, Jeremy Darrow, Nick Dauphinais, Gina Furtado, Jeremy Garrett, David Greer, Brittany Haas, Josh Haddix, Justin Hiltner, Lindsay Lou, Kimber Ludiker, Drew Matulich, Patrick McAvinue, Darren Nicholson, Lyndsay Pruett, Jon Stickley, Billy Strings, Molly Tuttle, and Jon Weisberger, Roland White and Friends: A Tribute to the Kentucky Colonelsreignites the spirit of the past and brings it to the present, transforming the music into modern-day classics.
About Roland White
Roland White is a living legend in Bluegrass Music. Inducted into the International Bluegrass Hall of Fame in 2017, his career spans 60 years. From his start as a teenager with his brother Clarence in what would eventually become the Kentucky Colonels, Roland has been a musical influence on more than just one generation of musicians.
His career is pedigreed. From the far reaching influences of the Kentucky Colonels and the New Kentucky Colonels, to his time as a member of Bill Monroe's Bluegrass Boys to his innovative musicianship in celebrated bands like Country Gazette and The Nashville Bluegrass Band, to his years of studio and solo work all the way to his current outfit, The Roland White Band, it's nothing short of consummate.
But above all, it's White's stylistic playing and singing that makes him an icon. It's the way he seems to dance through his instrument with a touch, tone and aliveness that expresses and communicates feeling to all that hear. In much the same way, White creates mood vocally with rare uniqueness and personality. It's White's creative innovation and professionalism that has made his music stand the test of time.
Even today, White is known in Nashville as a person who continues to bind the city's Bluegrass community together. A mentor to all who have a chance to meet or play with him, he has nurtured numerous performing artists and been an ambassador to the genre.
The New Kentucky Colonels could have done something different. By then, Clarence had invented a new way of playing electric guitar, coaxing a Telecaster to sound like some warped and whimsical version of a pedal steel. But this wasn't a time to expand, it was a time to expound on the particularly, peculiarly American roots of this bluegrass-burnished brand of acoustic music. It was a time for harmony, and for virtuosity, and for joy. Joy was in short supply for Americans in 1973. The presidency was a tight-jawed concern. The South was a clenched consortium. And so the New Kentucky Colonels played. They were propulsive and virtuosic and amazing, and they thrilled the folks that heard them. They even thrilled themselves: Roland White says that the Stockholm shows were as fine a time as he ever had playing music.
"In my opinion, this is the best playing of Clarence's on record," Roland says, and a listen to the guitar solo on "New River Train" or "Alabama Jubilee" proves his thesis. "I know it was the best music I ever made. Clarence and Eric and I had grown up playing and singing together, so when we reunited as the New Kentucky Colonels, everything felt natural and right. And Clarence had a lot of fans in Europe, a lot of them from his days in the Byrds, and he was aware that a lot of them had come out to those shows. He was really pouring it on." They all poured it on, and they had more to pour than at any other point. Roland rebuilt his right hand technique in his late 1960s days as a guitarist in Bill Monroe's Blue Grass Boys, and when he applied that technique to the mandolin, the results were righteous and distinctive. Clarence's work with the Byrds found him seeking and finding new approaches to guitar, and with the New Kentucky Colonels he fused new world ingenuity with the rigor and certainty of what Monroe called "the ancient tones". Munde applied lessons learned in stints with Jimmy Martin's Sunny Mountain Boys and with the Flying Burrito Brothers. Eric White's bass provided propulsion and playfulness, and the band locked together, an unstoppable force of rhythm, melody, and harmony. This version of the New Kentucky Colonels was magical, but temporal. Munde was there as a last-minute replacement for Herb Pedersen, who joined with the White brothers earlier in 1973, and who started the European tour with the White Brothers but left to join up with Johnny Rivers. After the Stockholm gig, Munde returned to his own group, Country Gazette. And less than two months after Stockholm, Clarence White was killed, struck by a car outside the Palmdale, California club where he and Roland had just performed.
Tragedy ended Clarence's life, but it did not lessen his impact on generations of musicians, and it does not dull the wonder of his creations. Roland White went on to establish himself as one of the most important and adventurous mandolin players in bluegrass history, contributing to mind-bending west coast band Country Gazette and winning Grammy Awards with the Nashville Bluegrass Band, before leading the Grammy-nominated Roland White Band in the new century. Eric White's bass enhanced the soundscapes of Linda Ronstadt, the Flying Burrito Brothers, and others. And Alan Munde spent 35 years as a driving force in the groundbreaking Country Gazette, and has continually moved bluegrass forward, as a solo artist and as an in-demand teacher. Few of us were in Stockholm those nights in May of 1973. Thanks to Claes Bergstrom's tape, those Swedish nights are here for all of us, right now. Across decades and oceans, the music is present. It sustains and endures.
-Peter Cooper, Nashville, Tennessee
-Alan Munde, Wimberley, Texas
-Roland White, Nashville, Tennessee