Chords for Bill Monroe on Bluegrass Music Pt C

_ _ _ Monroe insisted that his boys [Cm] wear suits and ties and adopt a solemn [G] performance style that defied the hayseed stereotype.
_ _ I was [G] proud of them the way that they were playing and singing.
These are all fine fellows and they were young when they started with me [C] and
they had a lot to learn you [G] see and being with Bill Monroe and the Blue Grace Boys gave them a chance to get in there and play.
_ _ When [E] Bill Monroe hired me, that was a big deal man.
That was what I'd been waiting to hear all these years.
_ [Gm] I was on the fiddle and I usually played all of my stuff in easy chords.
[G] He'd throw me in the B natural, B flat.
He figured I was a little rookie country boy scared to death so he
he really stayed by me.
_ We had Lester Flat on guitar, the late Lester Flat and Lester was a good singer.
He and Bill together made one of the finest duets that there was.
It's mighty dark for me to travel, _ [C] for my sweet heart is old.
For old is love_
This particular year that I was with him, the late Stringbean was picking banjo for us.
Hang on [A] children! _ _ _
_ _ Well, I've jumped up and looked my while, a dog took a half and run for a mile.
Run little rabbit, run, run, [E] run little rabbit. _ _ _
Stringbean played the old time banjo styles known as two finger or claw hammer, where the fingers strum down on the strings. _
[A] Well, big old rabbit, you look about a brown hair spine, it'll knock you down.
Bill come to me one night and he said, Stringbean's just turned his notice [E] in.
We're gonna have to find us a banjo picker.
I said, I know where one of the best in the country is, but he don't pick anything like string.
He said, who is you?
I said, Earl _ Scruggs.
So, we [Ab] auditioned Earl in my room, just a-mandolin' and banjo and fiddlin'. _
Boy, did he ever pick that thing, goodness gracious. _
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_ Earl Scruggs grew up in North Carolina, where [Ebm] a different style of picking was [Ab] made popular by minstrel performers.
Scruggs added finger picks and plucked with a three finger roll. _
_ _ [Bb] _ _ _ _ He shouted music with syncopated notes, pioneering a sound that became the hallmark of bluegrass. _ _ _ _ _
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Listening to Earl [Db] Scruggs, Lester Flat, Bill Monroe, I didn't [G] even have a car.
I went to go downtown on Saturday night and a guy would have his car sitting there.
I said, in about five minutes, Bill Monroe and Lester Flat and Earl Scruggs and all of them's gonna be on.
And I said, do you care if I stand here, would you turn it on for me?
And they said, yeah.
Well, what's real special about it?
It was perfect. _ _ _ _ _ _ _
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I wanted to pitch the music high.
I've pitched it higher than anybody in the United States ever did.
_ I put the drive and the music with my mandolin.
That's where that drive comes from.
_ That would give the fiddle some work to do and that [C] would be the most wonderful [G] timing for the [C] banjo in the world.
[G] The timing I said bluegrass music to. _ _ _
Monroe combined musical sounds that were sacred and secular, [Em] urban and rural, hillbilly, [G] ragtime, sentimental [C] and blue.
[G] His music had a driving rhythm that was modernized and streamlined.
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