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A wee bit.

All bet the opening to Bethoven's 5th symphony would go over really well for about an hour, too. 

They come to me.  I have that kind of magnetic personality, I guess.

His uncle is apparently an accomplished player.  He often mistakes his relatives accomplishments for his own.

My dad was a fireman.  That's why I'm so freaking awesome. 

Well, sometimes we have to be "cold" to get the point across.

Practice.

Then some more practice.

And then to finish up:  Practice.

And probably practice some more.

There is no rule that says you can't have both.  I've got a couple of each.

It absolutely does.  Even more so in fact.  Those experimenters have to know something about what they're doing before they can experiment.  Guys like Zappa and Frisel were and are top notch technicians.    Herman Szobel was a prodigy player.

If you've got some dude banging pots and pans together, it's no more art than some two year old kid splattering paint on the canvas.  You can call it art, but it aint.

That's a good rule of thumb to go by, I guess, but I think it's more an artifact of the key signatures, rather than any specific "rule," per se.     Key signatures add sharps or flats as they progress through the circle of fifths, but the notes that are changed are always the same notes.  F is sharp in G, D, A, E, and every other key signature that has a sharp in it.  The same is true for these key signatures marked with flats.

Take a look at the circle of 5ths, and observe how the key signatures are built.

http://www.maxhammondphotos.org.uk/blog … fifths.gif

Now you could indicate F by marking the A sharp, but that conflicts with two things.  G is already marked as a single sharp (the F) and A is sharp in D, E, B, and F#.

It might be an interesting experiment to walk through the key signatures, and mark them up as they would be using flats, rather than sharps, or sharps rather than flats.

It will indeed improve your playing.  It's why I recommend it at every opportunity.

Here's a good starter

http://library.thinkquest.org/15413/theory/theory.htm

And here's one which I think is a little better.

http://www.8notes.com/theory/

Everything is based on scales, so if you want the best understanding of how things will apply to the fretboard, focus on that.

And occasionally the same song. 

Another good traditional bluegrass group.

Open Road - http://openroadbluegrass.com/

I saw these guys open the Telluride Bluegrass Festival in 2004, and have been in love with them ever since.

I'd also recommend the soundtrack to the movie "Oh Brother, Where Art Thou."

Don't confuse blues with bluegrass.  They have entirely different structures, and entirely different roots.  Blues grew out of the african american tradition after the civil war.  Bluegrass came from Irish and Scotch immigrants to the south in Kentucky and Tennesee.

Everyone's bluegrass primer should begin with Bill Monroe.  There are a lot of new young "newgrass" groups out there, but if you want to understand what it is they are trying to shape, you should go back to the beginning, and find that high lonesome sound, and Bill is the guy that really made that famous.

Bluegrass players are absolute monsters, too.  You want flatpicking?  Go see Shawn Lane (not that Shawn Lane, the other one) play Mandolin in Blue Higheway.  Fiddle, banjo, and madno players have to have chops to rip out some of the stuff they do.