Reso tenor as my bluegrass jam weapon of choice

[JPL]

I'm trying to get geared up for some cold-weather woodshedding in the hopes of hitting bluegrass jams in the fall. I have a nice stack of DVDs on bluegrass rhythm guitar, and I think I can boom-chuck on a 6 string without embarrassing myself too badly.

About a year back, I got a pretty incredible 1933 single-cone National tenor, which I've kept in CGDA tuning. I'm no great picker, but simply open-chord 1st position strumming really has a nice sense of authority coming out of that steel body. On the few fiddle tunes I've messed around with, being heard on leads is not a problem. I'm not shy about using the capo, so that helps.

So . . . I'm thinking about really committing myself to taking the tenor to all the jams next summer. Seems like there's a few different ways to come at the reso tenor as a bluegrass instrument. First, this open-chord strumming I've been doing, which probably gets the job done when I'm singing. Second, you can do an Irish tenor banjo thing, playing fiddle-type leads out of first position. Third, if I actually learn to work the whole neck, there's that Texas fiddle backup style.

Well, I have the instrument, and I have the plan, and now I just gotta do the work.

[Jim Garber]

The only thing I would check would be how strictly bluegrass these jams are. A National can be a loud instrument and to some folks might not fit in with the style. So I would talk to someone in charge at these jams. I don't mean to scare you away from trying but it would be a drag to get there and get stink eye in your direction.

[Markus]

I agree with Jim. Some jams are open to a little genre-bending, some want it just like it was.

That is a loud instrument. The jam I attend regularly has a couple great guitarists with very quiet guitars. When their turn to solo comes, the volume drops so that everyone can hear the soloist. The better jams I go to all do this, a loud instrument is not needed in a jam where people listen (and then adjust).

I would add that bluegrass has roles each instrument plays. Having someone going outside those roles is distracting and can lead to stepping on other people's toes.

We have a guy with an accordion show up to a jam I go to. Being a polite player who only really gets loud during his solo and tends to be very quiet doing rhythm leaves us sounding like bluegrass but requires good ears and attitude. There are friendly jams and players who play loud instruments with great dynamics and listening .... when you find a welcoming jam making sure your rhythm never overpowers others (esp solos) will do you well.

Sounds interesting. I would love to hear it.

[mrmando]

My National single-cone tenor has been welcomed with open arms whenever I've brought it to a bluegrass jam. It's advisable to use a light touch when playing rhythm.

[JPL]

Good points all around, particularly as to the strumming volume. With great power comes great responsibility.

[Dolamon]

You might think about using your thumb (plain) in place of a flat pick. That makes a resonator sound fatter but no where near as loud. At least that's how it works on my reso's.

[Will Patton]

I've been using my reso tenor more and more in bluegrass/folk situations and am realizing that less is more - these beauties can fulfill a role not unlike a sparse electric guitar in a well produced pop session. Play a chord on the the downbeat and just let it hang there, do a walk up on a chord change and then cut out, play a little lick to answer a vocal line . . . these kind of things seem to just add a bit of timbre. The fun is in getting in and then out, not playing thru the tune - a dash of color here and there.

[JPL]

I've been using my reso tenor more and more in bluegrass/folk situations and am realizing that less is more -

Yeah . . . people say that about my playing all the time.

I just did a little woodshedding tonight . . . not sure how the rest of the world will feel about it, but I believe I like the chop chord on the 2 and 4, with an occasional little flash of Dixieland.

Will, I was just listening to your recording of "Cafe Manouche" the other day and thinking about how great la pompe would sound on this tenor of mine, in the hands of a better player . . .

[Charles E.]

I have a 1932 National Triolian that I play in an old time band ( eight members, four fiddle players ) the punch this little beast delivers is a god send. Yes, in some jam sessions it is good to hold back but it is nice to know that you have volume when you need it. And boy does it give it!

[Michael Eck]

I play my '30 National tenor occasionally in the jug band, and our banjo man always says, "that's a nasty instrument." He means it with love...I think.

[mikeyes]

We have a guy with an accordion show up to a jam I go to.

Bill Monroe did too, for a while

[JPL]

I guess I'm traditional enough that I would like my reso tenor to be the least traditional thing at the jam. I suppose it's hypocritical of me to turn the djembe player away . . .