Archive for October, 2008

About Capos

Monday, October 20th, 2008

Murphy Henry

Question: I have been a Murphy Method Student for 19 years. I have a Kyser capo. When playing in C it tends to get in the way of my fingering. Could you tell me what kind you are using in Slow Jam 1 playing “Bury me Beneath the Willow” in the key of C, and where it can be gotten? Thanks. Calvin

Hey Calvin,

First of all, many thanks for hanging in there with The Murphy Method. That’s always nice to hear!

Now about capos:

After trying many capos down through the years including the Scruggs Capo, the Tom McKinney Capo, the Sabine Capo, and the Kyser, I have finally landed on the Shubb Capo, with which I am well pleased. I’m pretty sure that’s what I am using in the first Slow Jam DVD. (Unless I was having a Bad Capo day and lost mine!)

The Shubb Capos are small enough to not get in the way of my left hand, they snap on and off the banjo with no trouble, can easily be carried in my pants’ pocket, and don’t seem to cause too many tuning problems. (Although when you use any capo you almost always have to retouch your tuning.) Also, when I’m on stage and am not using the capo at the moment, I can keep it handy by sticking the end of it into one of the holes in my Stelling flange.

And even with long term use, I’ve not ever had the rubber part deteriorate. (Of course that MIGHT be because I often lose my capo and have to buy a new one…That sometimes comes from lending capos at a jam session! I did have a lawyer friend who absconded—accidentally of course—with my capo replace it with a brand new one!)

And for those of us with arched fingerboards (which for some strange reason we are now called “radiused” fingerboards) on our banjos, the Shubb comes in a slightly curved version, which makes for fewer tuning problems.

I think you can find the Shubb Capo at many music stores, locally and online. I’ll shout out to three of my faves: First Quality Music, Janet Davis Music, and Elderly Instruments.

Hope this helps!!!!

[Casey here...I use a Showcase capo, which handily slides up above my nut when not in use, so I never have to take it off the neck, thereby greatly reducing the chances of it being lost!]

Right Hand Position

Friday, October 17th, 2008

Casey HenryOne of my students is currently working on changing her right hand position to get better accuracy and tone. Changing one’s right hand position is not something that should be taken lightly. Generally students will naturally fall into a position that is comfortable and relaxed, and that works fine. You have to have three key points:

1.) Fingers anchored on the head (at least one, either pinky or ring, is OK).

2.) Wrist arched. It should look like a bridge.

3.) Forearm resting on the armrest. It’s what it’s there for.

Outside of those criteria, there is a lot of variation in how people’s hands look. The most important thing is that you are striking the string right down the middle of the pick (it should wear a shiny place). Also, your hand should not have any tension in it, and your fingers should not be flying all over the place; they should stay reasonably curled.

Changing your position after you’ve been playing a while is a huge undertaking and should be approached cautiously. Like I told my student, play everything slow. Play nothing fast until your new position is well established, or you will immediately revert back to your old position. Make sure you play through ALL of your old material with this new position. And do not introduce any tension into your hand, wrist, or arm, even if you think it looks/sounds better. It will hurt your playing in the long run.

Finding Some People To Pick With

Thursday, October 16th, 2008

Red HenryThere was a recent thread on Banjo Hangout that I think deserves some extra discussion. The BHO folks were talking about how good and important it is for musicians, when they are learning music, to play music with other people. And they’re exactly right.

Murphy says over and over on our tapes, “Find someone to pick with!” — it doesn’t have to be someone who plays exactly your own kind of music. Maybe they play gospel. Maybe they play old-time country. Maybe they’re folkies. But there’s not much that will help your music more than FINDING SOME PEOPLE TO PICK WITH.

In the case of Murphy’s local students, they have a group called “Murphy’s Misfits,” and they’ve gotten together for several years to jam and perform at nursing homes places like that. They’ve all benefited a lot in being able to learn their music really well, play solidly, keep time, conquer their fear of being in a group, play standing up, and get used to performing in front of people.

I learned to play at amazing weekend-long picking parties when I was in college (studying was not an option). So to me, there was never a difference between playing music by myself and picking with others. I had this opportunity not because of anything I did, or any special musical ability (the parties started when I’d only been playing two weeks), but instead it was just good luck in being introduced to those people early on, and it was a terrific musical education. And 40 years later, some of those people are still my best friends.

Here’s a snapshot taken at one of those parties a long time ago. You can see what sedate, sober young guys we were (Chuck Lamb, Wyndell Merritt, John Hedgecoth, Mike Johnson, and Red):

young guys picking

A few years later, when I was moving around the country in the Air Force, I found places where it was difficult to unearth the local pickers. But after living several months in a new place and asking around, I usually started running across the bluegrass and old-time-country pickers who lived there. And it was worth it. There’s no way to have as much fun learning your music as FINDING SOME PEOPLE TO PICK WITH!

High Breaks and Backup Now on DVD

Wednesday, October 15th, 2008

high breaks and backup coverWe now have yet another of our videos available on DVD: High Breaks and Backup. This disc is a great introduction to playing up the neck. It teaches five breaks to songs (Mountain Dew, Two Dollar Bill, Worried Man, Do Lord, I Saw The Light) and shows you how to use some fancy Scruggs-style backup licks to boot. Most of these songs are on our two Slow Jam DVDs (1 and 2), so you’ll have a great practice tool to play along with!

IBMA Red Carpet

Wednesday, October 15th, 2008

Our friends over at the Bluegrass Blog shot lots of “red carpet” footage at the IBMA pre-awards reception this year. Yesterday’s episode (episode 2) features Del McCoury, Larry and Dreama Stephenson, and our own Casey Henry, who appears toward the end of the clip, interviewed by Katy Daley of Bluegrasscountry.org.

Casey red carpet

Miles and Miles of Bluegrass Tunes

Tuesday, October 14th, 2008

Red HenryFolks, as you can tell from reading our blog for the last week or two, Murphy and I went over to Nashville last week for the big International Bluegrass convention. We had a great time at the Trade Show and FanFest (more about that later!), but I’ve been thinking about the good trip home I had, and thought I’d talk about that.

Murphy and I were in Nashville on different schedules. I was in Nashville for the first part of the week, and drove home to Winchester on Friday afternoon and evening. Now, I usually don’t drive a lot in the dark (especially for much of a 10-hour trip), but in this case it was no problem. I had a lot of CDs in the car, and listened to a bunch of them. Here’s a selection:

1. Nancy Pate, “Georgia in the Middle of June” — Murphy’s sister Nancy recorded this CD a few years ago with Murphy playing mandolin, Casey playing bass and banjo and our brother-in-law Mike Johnson playing fiddle. The disc features mostly Nancy’s original music, with a few numbers by Louisa Branscomb, Nancy’s bandmate at the time. The music is what you might call “gentle bluegrass,” but with a great deal of originality and feeling. Possibly the most evocative numbers are Nancy’s “Pray for Rain” and “A Slower Road,” along with Louisa’s “For Every Day that You Die Young.” Nancy also reprised her old composition “Two of a Kind,” as well as giving her own take on Murphy’s “M&M Blues” (with Casey playing am excellent Scruggs-style break). Very enjoyable listening.

2. Woods and Bridges, “On the Right Track” — Our old Florida friends Bill Baker and John and Joanne Rose and their band released this CD about a year ago. It covers a good selection of standard bluegrass, along with quite a bit of bluegrass gospel. I especially like Bill’s mandolin work on “Working on a Building” and “The Old Crossroad,” because he played bass with us for three years in the 1980s and I didn’t even know he played mandolin at all! John Rose plays solid guitar and knows more Carter Stanley songs than anyone I know— and is the subject of a story we tell on stage, about how he became a bluegrass fanatic! This CD is pleasant and entertaining.

(more…)

Another Favorite Moment From Logan

Monday, October 13th, 2008

Murphy HenrySo, I’m at my friend Robyn’s house for supper. (She’s cooking!) Robyn is one of my Fiddle Sisters, a group of five women who like to play fiddles together. We were hot on the nursing home circuit one Christmas! Anyhow, Robyn is the mother of my sixteen-year-old banjo student Logan, whom I wrote about a few days ago.

Supper is underway and Robyn is doing chef-like things at the counter while Logan is sitting across from her doing something with his laptop. We talk a little bit about the band Old Crowe Medicine Show, one of my new faves, and Logan pulls up one of their songs “Alabama High Test” on the computer and plays it for us.

Then Logan says, “Want to hear my favorite song right now?”

I say, “Sure,” guessing that he will play something from one of the hot young bluegrass bands of maybe a jamgrass band.

Instead he clicks on a song title and the ancient tones of “In The Pines” come wafting through the kitchen. Sung by Bill Monroe himself! Complete with harmony “oohing” and the sound of wind moaning through the trees.

I am stunned. And delighted. For a teacher, it doesn’t get much better than that. Thanks again, Logan, for “one brief shining moment.” (And I hope you have that new break to “Faded Love” worked out by Thursday. If you don’t, I’ll be sure to post your excuses right here! <G>)

Beginning Banjo Track

Thursday, October 9th, 2008

Murphy HenryBeginning banjo students frequently ask, “In what order should I go through the DVDs?” (Although I’ll have to admit, the question is usually phrased using my favorite bluegrass grammar, “What order should I go through the DVDs in?”) Regardless of how the question is asked, it’s a good ‘un.

I found myself answering it several times this past weekend at the IBMA FanFest. So many times, in fact, that I decided to finally post the answer on the Blog!

My own approach to the order of the songs has changed over the years as I learn more about teaching, and especially as I learn more about teaching adults.

So here is my highly recommended Beginning Banjo Track.  You will notice that I skip around on the DVDs, but always stay with the Big Three: Beginnning Banjo Vol 1 and 2 and Misfits. These are your foundation.

First the list (in case you don’t want to read any further), then the explanation.

Banjo in the Hollow
Cripple Creek
Boil Them Cabbage Down (low break)
Boil Them Cabbage Down (high break)
Cumberland Gap
I Saw The Light
Do Lord
Worried Man
Two Dollar Bill
Foggy Mountain Breakdown
John Hardy
Old Joe Clark
Foggy Mountain Breakdown (high break)
Lonesome Road Blues
Fireball Mail

Learning all these songs (and being able to play them) should take you at least ONE YEAR, possibly TWO YEARS. Don’t rush it!!! And learn your chords!

Now the explanation:

I almost always start with these three songs, because they are so easy:

Banjo in the Hollow
Cripple Creek
Boil Them Cabbage Down (low break)
Boil Them Cabbage Down (high break)

Then it’s either

Cumberland Gap
or
I Saw The Light

Some folks HATE Cumberland Gap and I see no need to torment them with it. But if you can stand it, it’s good prep for other up-the-neck songs.

Then, for many adults, I go right on through the rest of the Misfits DVD:

Do Lord
Worried Man
Two Dollar Bill

(You can skip “Do Lord” if it’s not a song you know!)

I use these songs because most people have heard them and, frankly, they are pretty easy. The downside (as so many students inform me!) is that they do sound very much alike. But my point in choosing them was just that: they use many of the same licks which, if you learn them in order, you can just plug in. It also forces you to practice those same licks over and over, so they really stick in your head! Then I teach a new lick in every tune.

After that, I pop back to Beginning Banjo Volume 1 for

Foggy Mountain Breakdown
and
John Hardy

Then for some students it’s on to Beginning Banjo Volume 2:

Old Joe Clark
Foggy Mountain Breakdown (high break)
Lonesome Road Blues
Fireball Mail

You may notice that I have left out “Salt Creek.” I don’t teach that too much anymore. Not because the song itself is too hard. It’s not. But the CHORDS are too hard. They are tricky and fast and not many beginners (or beginning intermediates can handle them). And now I almost always  introduce learning to chord (vamping) at an earlier stage.

And since my students are learning their chords earlier, I have also had really good luck moving them to the Improvising DVD after Beginning Banjo Vol. 1 and Misfits. My student Bob, now a two-year veteran, has just finished all three of those DVDs and is moving on to lick substitution, a step-by-step technique Casey and I are in the process of developing. (Oh yeah, there will be a DVD!) I am really excited about that!

After the Big Three, you can go in many directions. We’ll take up an Intermediate Banjo Track in a future blog, but right now I really need to finish my latest Charlaine Harris book, Dead As A Doornail!

PS Bluegrass Now magazine was kind enough to profile me in their very first online edition. Check it out. I’m sure Casey will add a link here! [Unfortunately, you can't see Murphy's article unless you subscribe to the magazine. If you ARE a subscriber, the link to her article is this one ---but you'll have to log in.]

Slow Jam 2 Is Here!

Wednesday, October 8th, 2008

Picking up the PaceYou asked for it and we delivered! More slow jamming fun in your living room can be had for only $29.95! Murphy and Casey are joined by David McLaughlin and Malia Furdado for two hours of play-along goodness. Order Picking Up The Pace: More Slow Jamming with Murphy and Casey now!

One Random Thing

Wednesday, October 8th, 2008

Casey HenryHere is an interesting thing I ran across a couple days ago. Last week I posted a photo of the Virginia band Goldheart in my post about IBMA, Day 2. Over at the Bluegrass Blog, Brance captured me capturing that shot and posted it here. Pretty nifty.