Archive for December, 2008

Last Day of the Year

Wednesday, December 31st, 2008

Casey HenryI’m reading Careless In Red by Elizabeth George and ran across a seemingly random mention of bluegrass. In a list of the contents of the murder victim’s car was “a bluegrass CD”. I found it especially surprising since, although the author is American, the book is set in England with all English characters, and the victim was a teenage boy. Apparently it has nothing to do with the plot, but I haven’t finished the book yet. Maybe it turns out to be the key piece of evidence!

So here we are at the last day of 2008. It is a good time to take stock of what progress, if any, you’ve made in your playing this year. (It’s also my cousin Helena Herring’s birthday—Happy Birthday Helena!!) How many songs have you learned? Are you satisfied with that number? Have you made an effort to find and play with other people?

Make some goals for your learning this coming year. Perhaps you want to make it all the way through the Jam Session Standards DVD, or perhaps you want to go to a camp, or maybe this will be the year to play in your first jam session. Don’t make huge goals that you are unlikely to accomplish (such as “This is the year I’ll play on the Grand Ole Opry!”) because even though they are practically impossible, and you know it, you’ll still feel bad if you don’t get there. If you make some (small, reasonable) goals, it will give you something to work towards and when you get there you can proudly mark it off your list. Maybe a list of songs to learn.

In any case, resolve to make the banjo (or the guitar or mandolin or whatever) a priority, and spend your new year happily picking and strumming away!

Philosophy

Tuesday, December 30th, 2008

Red HenrySometimes you can find philosophy in playing music. And who could talk about that better than Bill Monroe himself, the master of pithy words and music too?

Here’s the story: One day at a bluegrass festival back in the 1970s, people were listening to a modern hot-shot mandolin player on stage. He played up the neck and down the neck and all over the neck, making lots and lots and lots of fantastic notes. People were impressed. So someone thought he’d rattle Bill’s chain a little and said to him: “Bill, that young guy makes lots of notes. Why can’t you make all those notes when you play? Don’t you know that many notes?”

Bill didn’t hesitate. He looked the man in the eye and said, “If I was to write you a letter, I would mean every word I wrote.”

That’s all Bill said. That was all he needed to say. He didn’t need to play lots of notes, only the ones that meant something. He meant every word, and he meant every note!

Next time you’re taking a break (or playing backup) and want to throw in a hot lick, think about it. Don’t play it if you don’t mean every note.

A Poem

Monday, December 29th, 2008

Murphy HenryEllen, guitar student, photographer, and one of my current Misfits, had been kind enough to let me post an “almost song” she has written. She’s still working on the melody, so right now it’s still in the form of a poem. Her husband, Mark, is also a banjo student and Misfit, which is why the poem/song is about playing banjo and not guitar. (Besides, you wouldn’t get that great alliteration—all those “b” sounds—if it was about the guitar!)

Thanks, Ellen!

Beginning Banjo Blues

And there you have it.
Well, so you say,
But my fingers and my brain
Are going separate ways.

I had it last night
But today it’s gone,
Can’t get it back.
Better move along.

[bridge]
Time for a cold one,
Or maybe two.
Threw back a few beers,
And now I’m stewed.

Feelin’ better now
Riff is workin’ fine
Needed my Corona
To get me back in line.

And now I have it,
I’m pickin’ well,
Foggy Mountain Breakdown
Is goin’ swell.

Busted!

Thursday, December 25th, 2008

Murphy HenryFirst: Christmas Gift! As we say down in Georgia. (Since I said it first, that means you each owe me a gift!) Also, Happy Hanukkah, a joyful Solstice, and hope you’re having the best holidays ever, no matter how you are celebrating. (And I know my friends in Portland are celebrating with snow and ice! Thinking of you, Patty and Claire!)christmas tree 2008

Now, just a quickie, so I can get on with unwrapping my presents!

Today I want to revisit the gargantuan task of learning to hear chord changes and the pitfalls of COUNTING the number of beats of G, C, or D. (Instead of learning to hear the changes by ear.)

The unnamed culprit, he of the pointy picks (which I am happy to say he has abandoned!), came in yesterday and played a bee-yoo-ti-ful, flawless version of “Roll In My Sweet Baby’s Arms.” So, since there wasn’t any further work to do on the break, we moved to the vamping.

The first two times we played it through, the vamping was perfect. But as we continued to play, the vamping completely fell apart. At first I couldn’t figure out what in the world was wrong. How can a person go from precision vamping, with all the changes in the right places, to staying in the G chord too long and changing to C at the wrong time?

Then, like a lightening bolt, this thought occurred. “Are you COUNTING?”

Sheepish grin. “Yeah.”

“BUSTED! You lost the count, didn’t you?”

“Yeah.”

“That’s why counting doesn’t work. If you lose count, you are….well, you’re in a pickle!

So, we went back over the song with him not counting, and honestly, it wasn’t that hard. I mean, you’ve only got three chords and he had vamped to other songs before. If you get lost, you just go back to G and stay there. Everything always comes back to G!

As he and I discussed later, you can’t possibly memorize the chord changes to all the songs you’re gonna be playing. You just have to learn to do it by ear. One song at a time. I can pretty much promise that this works. And I can almost guarantee that counting doesn’t! So, if you’re a counter, make that leap of faith, go back to the two-chord songs, and start learning to do it by ear. In the long run, it’s so much easier!

Christmas Eve

Wednesday, December 24th, 2008

Casey Henry

This is a post I wrote last year for the folks over at the Bluegrass Blog. This year our Christmas Eve will be sadly different, since there will be no party at Dalton’s shop. We’ll just have to party twice as hard at David’s!

Christmas Eve for my family has always been about playing music. There is a close-knit bluegrass community in Winchester, Virginia, where we moved in 1986. Every year since then we’ve attended two parties on the 24th, and the day wouldn’t seem right without them. Dalton Brill is a local barber, banjo player, and, as one newspaper article put it, if the bluegrass scene was the Mafia, he’d be the Godfather. His barber shop brims over with food, music, and eggnog as everyone he knows drops in, musicians and non-musicians alike. There are people there I only see once a year, people who used to come every Wednesday to watch us play downstairs in the basement of that shop. And every year there are people we miss, who have moved on from this life to whatever lies ahead. We always pick a tune and have a drink for them.

After Dalton’s we move the party to David McLaughlin’s house where his wife Gay arranges a beautiful spread of seasonal goodies, on which we stuff ourselves before migrating to the other room to play some more music. David sometimes plays, sometimes doesn’t. Usually he’ll play guitar or bass. Sometimes he’ll flatpick the banjo or play snare. One year Tom Gray came, and that was great fun. When Bob Amos (of Front Range) lived in town he’d always stop by before going to the Christmas Eve service. We cherish the chance to all be together at the holidays, (Except for the year his kids gave us the stomach flu. I really wish he’d cancelled that year.) and we miss Lynn Morris and Marshall Wilborn, who are always in Texas with their families. As we drive back to our house full of Christmas cheer, through the luminary-lined streets of David’s neighborhood, we think of Santa making his rounds and hope that he won’t forget to stop at our house.

Banjo Backup: How to Do It (more about listening)

Tuesday, December 23rd, 2008

Red HenryWhen I listen to quite a few modern bluegrass bands, one thing I hear is the banjo. Playing and playing. Loudly. All the time. Through the vocals. Through the choruses. Through the other instruments’ breaks. And most of the time, the banjo player doesn’t seem to be listening to the rest of the band, but is just playing his own [or her own!] favorite licks and droning rolls over and over. It’s as if he thinks the rest of the band is playing and singing along with him! — he’s not thinking of listening and playing together with the group. The banjo is the giant in overshoes, stepping on everybody else’s music.

But when I listen to old Flatt & Scruggs records, although Earl’s the best banjo player in the world, he’s not stepping over anybody else. Earl keeps his banjo out of the way of the vocals and other instruments, and never crowds the music or detracts from it. And that was part of the magical Flatt & Scruggs band sound, one reason why it was so good and so many people liked it.

There was an article about Earl in a recent issue of the Fretboard Journal. In it, John McCuen quoted Earl about backing up a lead singer: “If he’s singing low I play high, and if he’s singing high, I play low.” Earl talks just like he plays, expressing the most with the fewest words! Just fourteen words, and he said so much! When he’s backing up a singer, Earl’s not just playing, he’s listening. Earl’s not there to show off his banjo licks. He’s there to make the music sound better. He LISTENS while he’s playing, to make sure he complements the music and doesn’t intrude or cover anybody else up.

Earl’s a musical genius, but you don’t have to be one to follow his rule. Listen to his records to get the idea, and then keep it in mind when you’re playing with others yourself. When you’re playing the banjo in a group, don’t let your banjo step on everybody else. Make the banjo be part of the group, not the giant in overshoes! Make yourself part of the music. That’s How to Do It!

Historic Discovery

Monday, December 22nd, 2008

Casey HenryToday, Murphy, through dilligent searching, turned up a song that has been in our family since she was a child. “There’s a Little Cabin,” which I recorded on my Real Women Drive Trucks CD, is a lullaby that Murphy’s mother sang to her, and that Grandmother sang to me when I was little. As I say in the liner notes, I didn’t like it initially and always asked her to sing something else. At some point, though, it became my favorite. We never knew where it came from, but today Murphy just took a notion to find it. And find it she did. Turns out the real title is “Virginia Moonlight” and it was written by someone named Harold B. Freeman in 1920. It was a romantic parlor song, surely never intended to be a lullaby! She found the sheet music in the Duke University Library, and solved our little mystery!

Small-Town Fiddle and Banjo Contest, 14 years ago

Friday, December 19th, 2008

RedI was looking over a few old photos of us today, and found these which were taken several years ago, at a contest held in a small town near here. Casey (age 16) and I (age unspecified) played in the banjo and fiddle parts of the contest, respectively.

Now, generally speaking, we don’t enter contests (okay, I’ve entered maybe 2 contests in 30 years). This is mostly because of the caliber of judging you find at many of the small-town events. For example, rarely will you have judges who are fiddle experts, because (1) if they can play well they’re probably entered in the contest, and (2) if they’re not entered in the contest they at least don’t want to be judges, because they don’t want to get all but one of their fiddle-playing friends (the contest winner they choose) mad at them. So instead, you may find the president of the local bank, or folks from various civic organizations, or the owner of the local gas station doing the judging. Under those circumstances, the prizes may not come anywhere near the best players!

In the case of this contest, just before the even started, I was standing next to the table at which two of the judges were seated. The third judge came and took her seat. One of the others said, “I’m really glad that NOW, we have somebody who knows something about music!” The second judge agreed with him enthusiastically. So I knew what to expect.

The banjo contest came first. Casey, just 16, played great as I backed her up on guitar:

Casey and Red at banjo contest

In spite of the fact that it was her first contest and it was a cold day, making it a real challenge to play with chilled fingers, Casey took second prize against a crowd of older and much more experienced players. I was really proud that she had done that well, and her win qualified her to enter the East Coast Invitational Banjo Contest a few weeks later. [Which I didn't place in, and thus it became the last contest that I ever played!]

Next came the fiddle contest. For my three tunes to play I chose “Durang’s Hornpipe”, “Festival Waltz”, and “Sally Goodwin”. Chris (age 13) was going to back me up on guitar. He already played great rhythm but wasn’t familiar with many fiddle tunes, so he and I had run over the tunes together a few times at home.

Now, I’m not a fiddle specialist, but I think I’ve got a pretty realistic idea of how well I play the fiddle. As I watched the other fiddlers in the contest, I recognized that I had an edge over most of them, but two of them (call them Fiddler A and Fiddler B) were conspicuously better than the rest of us. Fiddler A was the best, though not by a great deal.

Chris and Red at fiddle contest

When it came my turn to play, Chris and I got up on the stage and gave it what we had in that chilly weather. Here’s what we looked like:

I played my three tunes about as well as I ever had, knowing that the judges might or might not actually have the “ears” to hear what the other contestants and I were playing. After the other fiddlers had all performed, the judges’ results were tallied: Fiddler B was awarded first prize, Fiddler A won second prize, and I won third. That was not bad, I thought—even if the judges had scrambled the two best players, at least they’d assigned the best three fiddlers to the top three slots. Pretty good for a small-town contest.

But I haven’t entered any more of them since then!

Fiddle Stuff

Thursday, December 18th, 2008

Murphy HenrySuzi, one of my fiddle students, has graciously allowed me to post the list of tunes she is working on. She has taken up fiddle at the age of 71 and is doing very well. And what makes this especially interesting to me is that she’s not following the “normal” path for a beginning fiddle student. Of course we started there with my conventional first songs for fiddle: Twinkle, Twinkle Little Star, Mary Had A Little Lamb, Are You Sleeping Brother John, and so on. But Suzi quickly became bored with practicing these over and over. So she started picking out tunes on her own. By ear.

And here is the list she’s come up with. So far! Since she was raised in the Grace Brethren church, most of these are hymns. Since I was raised Baptist, I know them. And love them! I think this is an interesting pairing of student and teacher.

How Suzi picks these out I don’t know. And by that I mean, I have no idea of how she arrives at each starting note. But somehow she ends up playing in easy keys, mostly D, although she herself is not aware of what key she is playing in. (I told her this week that you call tell what key you are playing in by the last note in the song. If the last note is “D” then you are playing in the key of D. Cool, eh?) I have indicated which key she is playing in, in case that helps you in your own playing. I have also included the notes she starts on, in her own words which I have put into italics. (‘Twould be better if you figured out your own starting notes, but I’m just being picky!)

You’ll notice that at the end of the list are some suggestions I made for easy songs that were not religious.

SUZI’S SONGS

Amazing Grace: Key of G: D open to ring finger

When The Roll Is Called Up Yonder: Key of D: D open to index finger

Joyful, Joyful We Adore Thee: Key of D: D middle finger

Jesus Loves Me: Key of D: A open to D middle finger

It Is No Secret What God Can Do: Key of D: D middle finger

Stand Up, Stand Up For Jesus: Key of G: Open D to ring finger on D

Oh, For A Thousand Tongues To Sing: Key of G: D open to D ring finger

Joy To The World: Key of D: ring finger on A

(more…)

A Musical Memory

Wednesday, December 17th, 2008

RedIf you’re interested in bluegrass trivia, I was looking through some old photos and came across this one from 1987, which shows me as a temporary member (for one set) of the Johnson Mountain Boys. Band personnel are (l-r): Richard Underwood (banjo), Earl Phillips (bass), David McLaughlin (mandolin), myself on guitar, and Eddie Stubbs (fiddle). (Click on the picture for a larger version.)

Red with JMB

You might ask how a member of one band could get mixed in with another, but in this case it was simple. David’s father, a scientist, had hired the JMBs to play at a big party he was putting on at a professional meeting. The boys asked me to provide the sound system. So that afternoon, I loaded up our sound equipment. I thought about putting in an instrument, but decided that I wouldn’t have a chance to play it and it was just too much stuff to bring. So I drove to party site a couple of hours away, over in the DC area, and got everything set up for the band.

The JMBs’ first set went well, but Dudley Connell, their incredible lead singer, had a sore throat and wanted to sit out the rest of the evening. So the boys asked me to play guitar and do some singing. Trouble was, I hadn’t brought my guitar, so I had to use Dudley’s. It was a really good guitar, but… Dudley was a lot less big around than I was, so the strap was really short. The guitar hung on me up about six or eight inches higher than I was used to playing it! But “The show must go on,” as they say, so I played Dudley’s guitar and sang.

In this photo, Cousin David and I are belting out some three-chord bluegrass standard. The audience was all partying and not paying too much attention to the band, but we had a good time. And I learned a lesson: When doing sound at a show, at least TAKE A GUITAR!