The idea here is to help coordinate the pickers so you all have solos to play and they can be played in the same key. What a concept - a Band in the Book. Within these pages you will find solos for the entire band: lead guitar, rhythm guitar, banjo, mandolin, fiddle and bass. the mandolin and fiddle share the same tunings so their solos are just written once for both. If you are just starting out and you are having difficulty-finding solos for your level - look no more. These solos are written for the beginner level student assuming you can already play a few simple solos or lead breaks. This series will help you to learn solos on multiple instruments, help organize ensemble play, help develop a steady sense of timing and give you hours of enjoyment as well.

In the twentieth century, Appalachian migrants seeking economic opportunities relocated to southwestern Ohio, bringing their music with them. Between 1947 and 1989, they created an internationally renowned capital for the thriving bluegrass music genre, centered on the industrial region of Cincinnati, Dayton, Hamilton, Middletown, and Springfield. Fred Bartenstein and Curtis W. Ellison edit a collection of eyewitness narratives and in-depth analyses that explore southwestern Ohio’s bluegrass musicians, radio broadcasters, recording studios, record labels, and performance venues, along with the music’s contributions to religious activities, community development, and public education. As the bluegrass scene grew, southwestern Ohio's distinctive sounds reached new fans and influenced those everywhere who continue to play, produce, and love roots music. Revelatory and multifaceted, Industrial Strength Bluegrass shares the inspiring story of a bluegrass hotbed and the people who created it. Contributors: Fred Bartenstein, Curtis W. Ellison, Jon Hartley Fox, Rick Good, Lily Isaacs, Ben Krakauer, Mac McDivitt, Nathan McGee, Daniel Mullins, Joe Mullins, Larry Nager, Phillip J. Obermiller, Bobby Osborne, and Neil V. Rosenberg.

(Fake Book). This collection gathers more than 300 bluegrass favorites presented in the straightforward Real Book format favored by musicians including lyrics where applicable: Alabama Jubilee * Ballad of Jed Clampett * Bill Cheatham * Blue Ridge Mountain Blues * Bury Me Beneath the Willow * Dixie Hoedown * Down to the River to Pray * Foggy Mountain Top * Highway 40 Blues * How Mountain Girls Can Love * I'm Goin' Back to Old Kentucky * John Henry * Keep on the Sunny Side * The Long Black Veil * My Rose of Old Kentucky * Old Train * Pretty Polly * Rocky Top * Sally Goodin * Shady Grove * Wabash Cannonball * Wayfaring Stranger * Wildwood Flower * The Wreck of the Old '97 * and hundreds more!

A pivotal member of the hugely successful bluegrass band Flatt and Scruggs and the Foggy Mountain Boys, Dobro pioneer Josh Graves (1927-2006) was a living link between bluegrass music and the blues. In Bluegrass Bluesman, this influential performer shares the story of his lifelong career in music. In lively anecdotes, Graves describes his upbringing in East Tennessee and the climate in which bluegrass music emerged during the 1940s. Deeply influenced by the blues, he adapted Earl Scruggs's revolutionary banjo style to the Dobro resonator slide guitar and gave the Foggy Mountain Boys their distinctive sound. Graves' accounts of daily life on the road through the 1950s and 1960s reveal the band's dedication to musical excellence, Scruggs' leadership, and an often grueling life on the road. He also comments on his later career when he played in Lester Flatt's Nashville Grass and the Earl Scruggs Revue and collaborated with the likes of Boz Scaggs, Charlie McCoy, Kenny Baker, Eddie Adcock, Jesse McReynolds, Marty Stuart, Jerry Douglas, Alison Krauss, and his three musical sons. A colorful storyteller, Graves brings to life the world of an American troubadour and the mountain culture that he never left behind. Born in Tellico Plains, Tennessee, Josh Graves (1927-2006) is universally acknowledged as the father of the bluegrass Dobro. In 1997 he was inducted into the Bluegrass Hall of Fame.

Bluegrass Fakebook by Bert Casey - This handy songbook contains bluegrass lyrics, bluegrass gospel lyrics, chord progressions, and melody lines to 150 of the all-time favorite Bluegrass songs, including 50 gospel tunes, as well as many new bluegrass songs. Printed in large, easy-to-read type with one song per page, this book is excellent for use on stage or in jam sessions, because everyone can read along. Also includes chord charts for the guitar, banjo, and mandolin to help you learn your favorite bluegrass chords and a listing of currently available recordings of each song. Now all those obscure verses you can never remember are right at your fingertips.

(Piano/Vocal/Guitar Songbook). The best collection ever of 70+ bluegrass standards! Includes: Alabama Jubilee * Arkansas Traveler * Bill Cheatham * Blue Moon of Kentucky * Blue Yodel No. 8 (Mule Skinner Blues) * Cripple Creek * Dark Holler * I Am a Man of Constant Sorrow * I Never Will Marry * I Saw the Light * I'll Fly Away * The Long Black Veil * Mule Skinner Blues * Orange Blossom Special * Rocky Top * Roll in My Sweet Baby's Arms * Sitting on Top of the World * Wabash Cannonball * Wayfaring Stranger * Wildwood Flower * Will the Circle Be Unbroken * The Wreck of the Old '97 * You Don't Know My Mind * and more.

The first book devoted entirely to women in bluegrass, Pretty Good for a Girl documents the lives of more than seventy women whose vibrant contributions to the development of bluegrass have been, for the most part, overlooked. Accessibly written and organized by decade, the book begins with Sally Ann Forrester, who played accordion and sang with Bill Monroe's Blue Grass Boys from 1943 to 1946, and continues into the present with artists such as Alison Krauss, Rhonda Vincent, and the Dixie Chicks. Drawing from extensive interviews, well-known banjoist Murphy Hicks Henry gives voice to women performers and innovators throughout bluegrass's history, including such pioneers as Bessie Lee Mauldin, Wilma Lee Cooper, and Roni and Donna Stoneman; family bands including the Lewises, Whites, and McLains; and later pathbreaking performers such as the Buffalo Gals and other all-girl bands, Laurie Lewis, Lynn Morris, Missy Raines, and many others.