Traditional Monroe Style

[luckylarue]

I somewhat understand the influence of the fiddle bow "shuffle" in Bill Monroe's right hand style, however, I don't get when or where he played back by the bridge or up on the neck. In the winter issue of Mandolin Magazine, David Long talks about using the area from the bridge all the way up to the 12th fret to get a variety of tone colors.
Can anyone elaborate further on this topic in terms of where or when Mr. Monroe would play back by the bridge or up the neck?

[Fred Keller]

There are no hard and fast rules, but there were tendencies.

Bill tended to play the hard, aggressive, downstroke solos (Bluegrass Stomp, Bluegrass Special, Letter From My Darling) down near the bridge. There's a snarly, growly tone you get there that fit those type pieces.

Bill liked to play tremelo stuff--especially gospel intros and interludes--farther up the neck.

Chances are good that if there's a song that sounds a bit darker or meaner, he's playing closer to the bridge. Brighter and happier music tended to be played farther up the neck.

Hope that helps.

[luckylarue]

When i saw Compton and Long last month, I noticed David - on some tunes - would play near the neck on the A and E strings, but would move back closer to the bridge on the G for a great twang/growl effect. I love that style. What about fiddle tunes? Would Bill play closer up the neck?

[JimRichter]

I think the comment about something sounding "mean" being played near the bridge is correct. I think if WSM wanted to tear someone a new youknowwhat, he'd be done there on that bridge. I can think of several uptempo fiddle tunes--such as his version of Turkey in the Straw--where's he's down there on that bridge.

And yes, David L and Mike C. do a lot of that playing on the A and E up near the neck and spanking that open G or D down around the bridge. For me, that's when the sound of those Gilchrist's come to life. So responsive in so many areas--doesn't seem to be any weak/dead spots.

Also another part of Bill's tone at times--and Mike C. never advocates it--is resting the edge of his hand on top of the bridge. You can hear those strings get muffled at times. Some times that's obviously more for effect than just resting it there for stability. Though, actually, in the Homespun lessons with Bill, he talks about resting lightly over the top of the bridge. You can hear that sound, especially in a lot of the older live tapes.

Jim

[kudzugypsy]

right guys #- most of the picking near the bridge would be the downstrokes - it would be really hard to get a good upstroke near the bridge anyway - the string just wont naturally vibrate much there, so the tone is quick, loud and sharp - vs the more *pretty* sound near the fretboard.

the one major thing to keep in mind with the right hand is to keep TIME with it - not just to set the strings in motion, but a large part of mandolin playing, just like the fiddle bow, is to keep the feel and swing of the tune coming thru the right hand. thats what monroe was a master at - often he would set the time with his right hand and play whatever with the left - thats why i think tabbed versions of monroes music are useless - (usually looking like a page full of 0's with a few fretted notes slipped in) - its about the feel, not the notes

[tattiemando]

I enjoy reading all the comments on downstoke playing,I too try to play in the downstroke style for certain songs . I always try to study how some of the pros play in the downstoke style. I own a copy of bluegrass journey and I have watched very closely how Ronnie McCoury executes the kick off for the song Rain and Snow,His downstokes are among the very quickest I have ever seen yet he seems to be so relaxed and in control. While my downstoke gets quicker more accurate and powerful, it is a challenge to stay very relaxed, i have also witnessed Ronnie playing Bluegrass Twist, again I have never seen anyone pick bluegrass twist faster using lots of downstrokes Than Mr McCoury. Ifirmly beleive to play the downstroke style well lots of practice is realy the way to go.