Chords for Dad on his Gibson F5 Bill Monroe commemorative mandolin
Tempo:
93.5 bpm
Chords used:
C
B
Gm
E
G
Tuning:Standard Tuning (EADGBE)Capo:+0fret
Start Jamming...
This is a Gibson [C]
F5 Madeline signed, this one's signed [G#] inside here, I don't know if you can get a shot.
So it's signed by who?
Bill Monroe, it's signed by the father of bluegrass, Bill Monroe.
There you can get a shot of his name on it right [N] there.
That's Bill Monroe and there's his picture up on the wall behind me there.
Gibson made 200 of these as a commemorative thing to Bill Monroe.
That particular style or model?
This is a replica of Bill Monroe's own Madeline which is now worth over a million dollars.
And the ticket, can you get a look at the [E] picture of him up here?
Yeah, I've got a nicer picture if you really want one.
[N] Anyway, as I was saying, so Gibson decided in about 1993 I believe it [B] was,
[E]
[G] this [F#] is August [E]
23rd, 1993, and it was signed by Bill Ford.
[C#]
Anyway, and they made 200.
100 of them they made in a [C] lacquer finish and 100 they [Am] made in the more traditional varnish finish.
The lacquer finish ones were not popular at all and just sort of fell by the [Em] wayside.
The varnish finish ones [F] became, in fact I believe [C] they made, they don't advertise this,
but I think [F#] they made more of them in varnish than the original 100.
This one is number, they're all [C] numbered, and this one [E] is number, let's make sure I get the number right.
I think I know what number it is.
101 [F] of 200, that's what [N] it says.
And all of the people who have played this mandolin, including Bill Monroe himself,
thought that this was the best one of these commemorative mandolins that was ever made.
101?
Yeah.
That one right here, this one.
Because he played it?
Bill Monroe played it, yeah.
There was a gentleman working for Gibson named Charlie Darrington,
who has [B] since died in a [C] terrible motorcycle crash.
[Fm] He was hit by a drunk driver on a [B] rainy night in Nashville.
Charlie Darrington was a very fine [N] mandolin engineer and he supervised the making of this particular mandolin
and told the guys specifically how to do the bracing underneath here.
I met Charlie one time several years later after I had this mandolin.
In fact, I bought it from Charlie Darrington because he was in that business too at one time.
And I said, this is the best one of them all.
And he says, see, that's [A] because they did the bracing the way I told them to.
[G#] So he was very proud of it.
So he [F] and another gentleman by the name [B] of Wichbol Sary, and there was a [G#] third man whose name escapes me,
the three of them were trying every one of these mandolins that were coming off of the production line.
And when this number 101 came up, Charlie Darrington [F#] called me and he said,
you better get down here to Nashville.
He said, we've got the one for you, the best one.
So Charlie kept this under his desk from that day until [B] I managed to drive down to Nashville
and picked up [N] this mandolin for him.
This one liked Gene [G] Reiner.
[Gm] Yes, I know.
There's a Bill Monroe tune that he wrote.
I think it's called Kentucky Mandolin.
He didn't write it for [Fm] this man.
He wrote it for his, which was [Cm] the original [Gm] one.
This one is a copy.
[G] [D] See, something I [Gm] say about instruments, these kind of instruments, is that they get better with [A] age.
And the wood, [D] from vibrating, the pores in the wood break down.
So they vibrate better [A] than a new piece of wood if [Gm] it's unpaged in a mandolin [D] or in an instrument.
And there are actually many musicians who will stand their instrument [Am] in a music stand near a speaker,
a acoustic speaker playing music with the belief [N] that it's vibrating all day long, day and night,
and that all that vibrating is helping to improve the sound.
[A] See, a mandolin is well known amongst people who know their instruments.
If you found [Gm] an expensive mandolin [Em] like a Lloyd Lohr [F] in a case, [C] in an attic,
that's been there for a hundred years, it [D] wouldn't be broken.
Even if it was a hundred years old, if it hasn't been played, it would just be like a new mandolin.
It would still be a wonderful find.
I wouldn't turn it down.
[B] A good Lloyd Lohr now would have been over $100,000.
[Am] That's a mandolin built in the 1820s by Gibson.
And Lloyd Lohr was the name of an engineer, an acoustic engineer,
that supervised the [E] building of quite a few mandolins that [C] Gibson made,
including the one that Bill Monroe [B] played all over the site.
I'll send you a picture of it.
[G] [C] Yeah, and here's Bill right here.
Oh, [Gm] that's not Bill.
Hey, Bill.
[N]
F5 Madeline signed, this one's signed [G#] inside here, I don't know if you can get a shot.
So it's signed by who?
Bill Monroe, it's signed by the father of bluegrass, Bill Monroe.
There you can get a shot of his name on it right [N] there.
That's Bill Monroe and there's his picture up on the wall behind me there.
Gibson made 200 of these as a commemorative thing to Bill Monroe.
That particular style or model?
This is a replica of Bill Monroe's own Madeline which is now worth over a million dollars.
And the ticket, can you get a look at the [E] picture of him up here?
Yeah, I've got a nicer picture if you really want one.
[N] Anyway, as I was saying, so Gibson decided in about 1993 I believe it [B] was,
[E]
[G] this [F#] is August [E]
23rd, 1993, and it was signed by Bill Ford.
[C#]
Anyway, and they made 200.
100 of them they made in a [C] lacquer finish and 100 they [Am] made in the more traditional varnish finish.
The lacquer finish ones were not popular at all and just sort of fell by the [Em] wayside.
The varnish finish ones [F] became, in fact I believe [C] they made, they don't advertise this,
but I think [F#] they made more of them in varnish than the original 100.
This one is number, they're all [C] numbered, and this one [E] is number, let's make sure I get the number right.
I think I know what number it is.
101 [F] of 200, that's what [N] it says.
And all of the people who have played this mandolin, including Bill Monroe himself,
thought that this was the best one of these commemorative mandolins that was ever made.
101?
Yeah.
That one right here, this one.
Because he played it?
Bill Monroe played it, yeah.
There was a gentleman working for Gibson named Charlie Darrington,
who has [B] since died in a [C] terrible motorcycle crash.
[Fm] He was hit by a drunk driver on a [B] rainy night in Nashville.
Charlie Darrington was a very fine [N] mandolin engineer and he supervised the making of this particular mandolin
and told the guys specifically how to do the bracing underneath here.
I met Charlie one time several years later after I had this mandolin.
In fact, I bought it from Charlie Darrington because he was in that business too at one time.
And I said, this is the best one of them all.
And he says, see, that's [A] because they did the bracing the way I told them to.
[G#] So he was very proud of it.
So he [F] and another gentleman by the name [B] of Wichbol Sary, and there was a [G#] third man whose name escapes me,
the three of them were trying every one of these mandolins that were coming off of the production line.
And when this number 101 came up, Charlie Darrington [F#] called me and he said,
you better get down here to Nashville.
He said, we've got the one for you, the best one.
So Charlie kept this under his desk from that day until [B] I managed to drive down to Nashville
and picked up [N] this mandolin for him.
This one liked Gene [G] Reiner.
[Gm] Yes, I know.
There's a Bill Monroe tune that he wrote.
I think it's called Kentucky Mandolin.
He didn't write it for [Fm] this man.
He wrote it for his, which was [Cm] the original [Gm] one.
This one is a copy.
[G] [D] See, something I [Gm] say about instruments, these kind of instruments, is that they get better with [A] age.
And the wood, [D] from vibrating, the pores in the wood break down.
So they vibrate better [A] than a new piece of wood if [Gm] it's unpaged in a mandolin [D] or in an instrument.
And there are actually many musicians who will stand their instrument [Am] in a music stand near a speaker,
a acoustic speaker playing music with the belief [N] that it's vibrating all day long, day and night,
and that all that vibrating is helping to improve the sound.
[A] See, a mandolin is well known amongst people who know their instruments.
If you found [Gm] an expensive mandolin [Em] like a Lloyd Lohr [F] in a case, [C] in an attic,
that's been there for a hundred years, it [D] wouldn't be broken.
Even if it was a hundred years old, if it hasn't been played, it would just be like a new mandolin.
It would still be a wonderful find.
I wouldn't turn it down.
[B] A good Lloyd Lohr now would have been over $100,000.
[Am] That's a mandolin built in the 1820s by Gibson.
And Lloyd Lohr was the name of an engineer, an acoustic engineer,
that supervised the [E] building of quite a few mandolins that [C] Gibson made,
including the one that Bill Monroe [B] played all over the site.
I'll send you a picture of it.
[G] [C] Yeah, and here's Bill right here.
Oh, [Gm] that's not Bill.
Hey, Bill.
[N]
Key:
C
B
Gm
E
G
C
B
Gm
This is a _ Gibson [C] _ _
F5 Madeline signed, this one's signed [G#] inside here, I don't know if you can get a shot.
So it's signed by who?
Bill Monroe, it's signed by the father of bluegrass, Bill Monroe.
There you can get a shot of his name on it right [N] there.
_ That's Bill Monroe and there's his picture up on the wall behind me there. _ _ _ _
Gibson made 200 of these _ as a commemorative thing to Bill Monroe.
That _ particular style or model?
This is a replica of Bill Monroe's own Madeline which is now worth over a million dollars.
_ _ And the ticket, can you get a look at the [E] picture of him up here?
_ _ Yeah, I've got a nicer picture if you really want _ _ _ one.
[N] _ _ _ Anyway, as I was saying, so Gibson decided in about 1993 I believe it [B] was,
_ [E] _ _ _
_ [G] _ _ _ this [F#] is August [E]
23rd, 1993, _ _ and it was signed by Bill _ Ford.
_ [C#] _ _
Anyway, and they made 200.
100 of them they made in a [C] lacquer finish and 100 they [Am] made in the more traditional varnish finish.
The lacquer finish ones were not popular at all and just sort of fell by the [Em] wayside.
The varnish finish ones [F] became, in fact I believe [C] they made, they don't advertise this,
but I think [F#] they made more of them in varnish than the original 100.
_ This one is number, they're all [C] numbered, _ and this one [E] is number, _ let's make sure I get the number _ _ right.
I think I know what number it is.
101 _ _ [F] of 200, that's what [N] it says.
And all of the people who have played this mandolin, including Bill Monroe himself,
thought that this was the best one of these commemorative mandolins that was ever made.
101?
_ Yeah.
That one right here, this one.
Because he played it?
Bill Monroe played it, yeah. _ _
There was a gentleman working for Gibson named Charlie Darrington,
who has [B] since died in a [C] terrible motorcycle crash.
[Fm] He was hit by a drunk driver on a [B] rainy night in Nashville.
_ Charlie Darrington was a very fine [N] mandolin engineer and he supervised the making of this particular mandolin
and told the guys specifically how to do the bracing underneath here.
I met Charlie one time _ several years later after I had this mandolin.
In fact, I bought it from Charlie Darrington _ because he was in that business too at one time.
And I said, this is the best one of them all.
And he says, see, that's [A] because they did the bracing the way I told them to.
[G#] So he was very proud of it.
So _ he [F] and another gentleman by the name [B] of Wichbol Sary, and there was a [G#] third man whose name escapes me,
the three of them were trying every one of these mandolins that were coming off of the production line.
_ And when this number 101 came up, Charlie Darrington [F#] called me and he said,
you better get down here to Nashville.
He said, we've got the one for you, the best one.
So Charlie kept this under his desk from that day until [B] I managed to drive down to Nashville _
and picked up [N] this mandolin for him.
This one liked Gene [G] Reiner.
_ [Gm] _ _ _ _ Yes, I know.
_ There's a Bill Monroe tune that he wrote.
I think it's called Kentucky Mandolin.
He didn't write it for [Fm] this man.
He wrote it for his, which was [Cm] the original [Gm] one.
This one is a copy.
_ [G] _ _ [D] _ See, something I [Gm] say about instruments, these kind of instruments, is that they get better with [A] age.
And the wood, [D] from vibrating, the pores in the wood break down.
So they vibrate better [A] than a new piece of wood if [Gm] it's unpaged in a mandolin [D] or in an instrument.
And there are actually many musicians who will stand their instrument [Am] in a music stand near a speaker,
_ a acoustic speaker playing music with the belief [N] that it's vibrating all day long, day and night,
and that all that vibrating is helping to improve the sound.
_ [A] See, a mandolin is well known amongst people who know their instruments.
If you found [Gm] an expensive mandolin [Em] like a Lloyd Lohr [F] in a case, [C] in an attic,
that's been there for a hundred years, it [D] wouldn't be broken.
Even if it was a hundred years old, if it hasn't been played, it would just be like a new mandolin.
It would still be a wonderful find.
I wouldn't turn it down.
_ [B] _ A good Lloyd Lohr now would have been over _ $100,000.
_ [Am] That's a mandolin built in the _ _ _ _ _ 1820s by Gibson.
And Lloyd Lohr was the name of an engineer, an acoustic engineer,
that supervised the [E] building of quite a few mandolins that [C] Gibson made,
including the one that Bill Monroe [B] played all over the site. _ _
I'll send you a picture of it.
[G] _ [C] Yeah, and here's Bill right here.
Oh, [Gm] that's not Bill.
_ _ Hey, Bill.
[N] _ _ _ _ _ _ _ _ _ _
F5 Madeline signed, this one's signed [G#] inside here, I don't know if you can get a shot.
So it's signed by who?
Bill Monroe, it's signed by the father of bluegrass, Bill Monroe.
There you can get a shot of his name on it right [N] there.
_ That's Bill Monroe and there's his picture up on the wall behind me there. _ _ _ _
Gibson made 200 of these _ as a commemorative thing to Bill Monroe.
That _ particular style or model?
This is a replica of Bill Monroe's own Madeline which is now worth over a million dollars.
_ _ And the ticket, can you get a look at the [E] picture of him up here?
_ _ Yeah, I've got a nicer picture if you really want _ _ _ one.
[N] _ _ _ Anyway, as I was saying, so Gibson decided in about 1993 I believe it [B] was,
_ [E] _ _ _
_ [G] _ _ _ this [F#] is August [E]
23rd, 1993, _ _ and it was signed by Bill _ Ford.
_ [C#] _ _
Anyway, and they made 200.
100 of them they made in a [C] lacquer finish and 100 they [Am] made in the more traditional varnish finish.
The lacquer finish ones were not popular at all and just sort of fell by the [Em] wayside.
The varnish finish ones [F] became, in fact I believe [C] they made, they don't advertise this,
but I think [F#] they made more of them in varnish than the original 100.
_ This one is number, they're all [C] numbered, _ and this one [E] is number, _ let's make sure I get the number _ _ right.
I think I know what number it is.
101 _ _ [F] of 200, that's what [N] it says.
And all of the people who have played this mandolin, including Bill Monroe himself,
thought that this was the best one of these commemorative mandolins that was ever made.
101?
_ Yeah.
That one right here, this one.
Because he played it?
Bill Monroe played it, yeah. _ _
There was a gentleman working for Gibson named Charlie Darrington,
who has [B] since died in a [C] terrible motorcycle crash.
[Fm] He was hit by a drunk driver on a [B] rainy night in Nashville.
_ Charlie Darrington was a very fine [N] mandolin engineer and he supervised the making of this particular mandolin
and told the guys specifically how to do the bracing underneath here.
I met Charlie one time _ several years later after I had this mandolin.
In fact, I bought it from Charlie Darrington _ because he was in that business too at one time.
And I said, this is the best one of them all.
And he says, see, that's [A] because they did the bracing the way I told them to.
[G#] So he was very proud of it.
So _ he [F] and another gentleman by the name [B] of Wichbol Sary, and there was a [G#] third man whose name escapes me,
the three of them were trying every one of these mandolins that were coming off of the production line.
_ And when this number 101 came up, Charlie Darrington [F#] called me and he said,
you better get down here to Nashville.
He said, we've got the one for you, the best one.
So Charlie kept this under his desk from that day until [B] I managed to drive down to Nashville _
and picked up [N] this mandolin for him.
This one liked Gene [G] Reiner.
_ [Gm] _ _ _ _ Yes, I know.
_ There's a Bill Monroe tune that he wrote.
I think it's called Kentucky Mandolin.
He didn't write it for [Fm] this man.
He wrote it for his, which was [Cm] the original [Gm] one.
This one is a copy.
_ [G] _ _ [D] _ See, something I [Gm] say about instruments, these kind of instruments, is that they get better with [A] age.
And the wood, [D] from vibrating, the pores in the wood break down.
So they vibrate better [A] than a new piece of wood if [Gm] it's unpaged in a mandolin [D] or in an instrument.
And there are actually many musicians who will stand their instrument [Am] in a music stand near a speaker,
_ a acoustic speaker playing music with the belief [N] that it's vibrating all day long, day and night,
and that all that vibrating is helping to improve the sound.
_ [A] See, a mandolin is well known amongst people who know their instruments.
If you found [Gm] an expensive mandolin [Em] like a Lloyd Lohr [F] in a case, [C] in an attic,
that's been there for a hundred years, it [D] wouldn't be broken.
Even if it was a hundred years old, if it hasn't been played, it would just be like a new mandolin.
It would still be a wonderful find.
I wouldn't turn it down.
_ [B] _ A good Lloyd Lohr now would have been over _ $100,000.
_ [Am] That's a mandolin built in the _ _ _ _ _ 1820s by Gibson.
And Lloyd Lohr was the name of an engineer, an acoustic engineer,
that supervised the [E] building of quite a few mandolins that [C] Gibson made,
including the one that Bill Monroe [B] played all over the site. _ _
I'll send you a picture of it.
[G] _ [C] Yeah, and here's Bill right here.
Oh, [Gm] that's not Bill.
_ _ Hey, Bill.
[N] _ _ _ _ _ _ _ _ _ _