Workshops

April SlowJam Songs

Welcome back to the SlowJamboree! Last month we started talking about developing your instinct for what chords come next in common bluegrass songs. You might remember these little graphics:

Well let’s take that idea a step further this month. If you’re putting together a collection of words and chords for your own reference, it’s fine if you can transpose to new keys on the fly. But some people… Nashville people I think… decided to free the lyrics from a specific key and instead they focused on recording the intervals between chords. Chords then get notated with their numbers. So when you need to change keys for a new singer, your lyric sheets can still support you.

For example, Hal brought in “Blue Moon of Kentucky” this month for the SlowJam. He was kind enough to include all the chords in G. But what if we look at it in a simplified numbering system?

Blue Moon of Kentucky

G G7 C

Blue moon of Kentucky keep on shining

G D7

Shine on the one that's gone and left me blue

G G7 C

Blue moon of Kentucky keep on shining

G D7 G G7

Shine on the one that's gone and left me blue

If we refer back to the graphic, we can see that the chord structure is pretty much the 1, 4 and 5 chords, so let’s go ahead and write out the first couple lines with numbers instead of chords:

Blue Moon of Kentucky

I I7 IV

Blue moon of Kentucky keep on shining

I V7

Shine on the one that's gone and left me blue

I I7 IV

Blue moon of Kentucky keep on shining

I V7 I I7

Shine on the one that's gone and left me blue

Now, if you wanted to play the song in a different key, and you knew your 1, 4 and 5 chords in that key (sometimes that’s a big “if”), your numbered lyric sheet still helps you find your way through the song. For example, in the key of A:

Blue Moon of Kentucky

I(A) I7(A7) IV(D)

Blue moon of Kentucky keep on shining

I (A) V7 (E7)

Shine on the one that's gone and left me blue

I (A) I7 (A7) IV(D)

Blue moon of Kentucky keep on shining

I (A) V7 (E7) I (A) I7(A7)

Shine on the one that's gone and left me blue

Give it a try and see if it works for you. There’s a lot more to the real Nashville Numbering system – it’s a well thought-out set of ideas for capturing a lot of performance information without bothering with standard notation. Let me know if this works for you!

Click here for a pdf of all of this month's songs.

Blue Moon of Kentucky

written by Bill Monroe

In ¾ or waltz time. The original version

G G7 C

Blue moon of Kentucky keep on shining

G D7

Shine on the one that's gone and left me blue

G G7 C

Blue moon of Kentucky keep on shining

G D7 G G7

Shine on the one that's gone and left me blue

C G

It was on one moonlight night stars shining bright

C G D7

Whisper on high your love said goodbye

G G7 C

Blue moon of Kentucky keep on shining

G D7 G

Shine on the one that's gone and left me blue

Instrumental Break:

Repeat Chorus:

A House of Gold

written and recorded by Hank Williams

D G D

Some people steal they cheat and lie

For wealth of this world and what it will buy

G D

But don't they know on the judgment day

A D

That Gold and Silver will melt a way

CHORUS:

G D

I'd rather be in a deep dark grave

And to know that my poor soul was saved

G D

Than to live in this world in a house of Gold

A D

And deny my God and lose my soul

INSTRUMENTAL:

G D

What good is Gold and Silver too

If your heart's not pure and true

G D

Sinner hear me w-hen I say

A D

Fall down on your knees and pray

REPEAT CHORUS

Faded Love

recorded by Bob Wills

written by John Wills and Bob Wills

D D7 G

As I look at the letters that you wrote to me

D A

It's you that I am thinking of

D G

As I read the lines that to me were so dear

D A D

I remember our faded love

CHORUS:

D7 G

I miss you darling more and more every day

D A

As Heaven would miss the stars above

D G

With every heartbeat I still think of you

D A D

And remember our faded love

D7 G

As I think of the past and all the pleasures we had

D A

As I watched the mating of the dove

D D7 G

It was in the springtime that you said goodbye

D A D

I remember our faded love

REPEAT CHORUS

I Can't Help It

Written and recorded by Hank Williams

G D7 G

Today I passed you on the street

C G

And my heart fell at your feet

D7 G

I Can't Help It If I'm Still In Love With You

D7 G D7 G

Somebody else stood by your side

C G

And he looked so satisfied

D7 G G7

I Can't Help It If I'm Still In Love With You

C G

A picture from the past came slowly stealing

D7 G G7

As I brushed your arm and walked so close to you

C G

Then suddenly I got that old time feeling

D7 G

I Can't Help It If I'm Still In Love With You

Instrumental Break:

C G

It's hard to know another's lips will kiss you

D7 G G7

And hold you just the way I used to do

C G

Heaven only knows how much I miss you

D7 G

I Can't Help It If I'm Still In Love With You

I Can't Stop Loving You

Written and recorded by Don Gibson

Chorus

C F C

I can't stop loving you so I've made up my mind

G7 C

To live in memories of the lonesome times

C7 F C

I can't stop wanting you it's useless to say

G7 C

So I'll just live my life in dreams of yesterday

G7 C F

Those happy hours that we once knew

C G7

Though long ago still make me blue

G7 C C7 F

They say that time heals a broken heart

C G7 C

But time stood still since we've been apart

Repeat Chorus

___

Slow Jam Etiquette

Do:

Tune your instrument

Take turns leading a song. At most jams, people will be in a circle, and the turn passes to the person sitting next to the last person who picked a song. The person who starts a tune usually ends it. Everyone should get a chance to play a break before ending the song.

Be prepared. Bring songs you want to play. When it’s your turn, then you’ll be able to participate.

Tell everyone the name of the song and what key it's in when it’s your turn. If there are off-chords, tell everyone. If the song is all off-chords, maybe it’s not a song for a slow jam. Pick songs that everyone can enjoy.

Listen to the other players. Keep eye contact with the other players so you know where the song is going and when it's time to take the lead, or time to end the song.

Know when to lay back, or not to play. Back off when the singer is singing, or when someone is taking a lead break.

Don't:

Noodle between songs. Noodling is the habit of continuing to play licks in between songs. It's very distracting to the other players and can really slow up a jam. Sit on your hands between songs, until the song starts.

Steal the show. Play backup while another person takes a break.

Play too loud. Play your instrument so that it blends in and allows the other instruments and singer to be heard.

Don’t borrow someone’s instrument without permission.