Bluegrass Music

Tom Travis, Chairman,  British Bluegrass Music Association

Whenever I'm asked "What exactly is Bluegrass Music?" I usually offer the following, which draws on my thirty-odd years spent in performing and promoting the music.

        Bluegrass music is named after Grand Ol’ Opry star Bill Monroe’s band The Bluegrass Boys. Some people believe that Bluegrass dates from 1939 when Monroe first organised his band The Bluegrass Boys. Others (me amongst them) believe that Bluegrass began in 1945 when Bill hired Earl Scruggs to play banjo. I feel sure that it was Monroe’s tempos and high vocals, together with Scruggs’ unique 3-finger picking style that created the basis of the Bluegrass sound. Bluegrass was just a part of general country music up until the birth of Rock ’n’ Roll in the mid 50’s when, because of its continued use of banjo and fiddle, it became recognised as a clearly defined genre.

        The influence of early Bluegrass bands has created a tradition which allows only the following instruments to be used in a Bluegrass line-up: guitar; 5-string banjo; mandolin; fiddle; string bass (or electric, occasionally); ‘dobro’ (steel or ‘Hawaiian’) guitar. The music is characterised by instrumental breaks between the verses or choruses of songs, in a similar manner to trad and Dixieland Jazz.

        The vocals are made up of duos (lead plus tenor), trios (including a baritone) and quartets (including a bass vocal, mainly for gospel songs). In top Bluegrass bands all the members are both virtuoso musicians and good singers.

        The need for acoustic instruments has now become a philosophical standpoint, although it occurred by accident. After the birth of Rock ’n’ Roll, Bluegrass was accepted by the Folk music movement, who considered electric instruments to be symbols of the alienation of mass culture.   First generation Bluegrass bands were appreciated mainly by rural ‘blue collar’ workers who preferred traditional mountain, folk and old-time songs, or songs written in the same style (often by the band members themselves).  Later-entry Bluegrass bands, introduced to the music by the 1960’s Folk revival movement, played to urban audiences, which, in turn, appreciated more worldly and sophisticated lyrics that were more in keeping with their way of life. Consequently songs from other genres were adapted and new songs were written.

        That said, whatever tunes or songs are played, they must fit the rhythm of the Scruggs-style banjo roll, which is (in my opinion) essential for creating the Bluegrass sound.  There are, of course, later banjo styles, such as the more melodic styles of Bill Keith, but the 4/4 roll still figures, setting the parameters within which the song must be placed.  Waltz time (3/4) numbers are also accepted as long as they accommodate the Bluegrass-style banjo and the off-beat back-up rhythm supplied by mandolin and/or banjo.

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