Archive for March, 2009

Good “Banjo Manners” (2)

Tuesday, March 31st, 2009

Red HenryYou folks might remember when I wrote, a couple of weeks ago, about a picking session with a banjo player who had really bad banjo manners. Well, I’m glad to be able to write, this time, about a session with a banjo picker who really had good Banjo Manners!

The scene was the same as before: the regular Thursday night picking session held near here. Many of the people present were the same as the last time, but there was one exception—there was a different banjo player.  And I am glad to say that this banjo picker not only was an excellent picker, but had the exact opposite manners of the one I commented on last time. This banjo player not only picked well, but LISTENED to what everybody else was playing and singing, and did whatever was appropriate to make the music work. If someone was singing, he played softly. If a guitar or mandolin break needed to be heard, he’d just do quiet little vamps, never covering up the lead. Everybody had a good time.

If you’re a banjo player, please think about that. When you’re picking in a group of people, ALWAYS think about the music and listen to what the others are playing and singing, and fit in the best you can. That way, folks will know you have good “Banjo Manners.”

The Ballad of Jed Clampett

Monday, March 30th, 2009

Murphy HenryI want to answer a question I got about the song “Ballad of Jed Clampett” which Casey taught on our new DVD Easy Songs for Banjo. The inquirer wanted to know if we taught it exactly like it is tabbed out in the Earl Scruggs Book. (Actual title of the book: Earl Scruggs and The 5-String Banjo.) The answer to that would be “no.” But it is very, very close. Except for those darn D licks. Let me ‘splain.

Just because I abhor tab doesn’t mean I didn’t dabble in it myself while learning banjo. (That’s why I know it doesn’t work!) You should see my Earl Scruggs Book! Even the tape holding together the first layer of tape on the spine has now pulled away.

I was totally incapable of learning the “Ballad of Jed” out of the book. And it was those darn D licks that got me. Specifically the phrases “poor mountaineer barely kept his family fed” and “up through the ground came a bubb-a-ling crude.” The rest of the song, even from tab, is a piece of cake. Of course, those darn D licks comprise a “right smart” of the whole song.

As was often the case what was easy for Earl and came naturally to him was hard for me. So when I got good enough on banjo, I just substituted some different Scruggs licks into those two spots, and bingo! I had a perfectly good break, albeit not note-for-note like Earl done it. I finally realized that, when people asked for “Jed Clampett” or “The Beverly Hillbillies” they didn’t know and didn’t care if I was playing it exactly like Earl. They just wanted something that sorta sounded like what they heard on TV. Which, when you get right down to it, could just be as simple as a few banjo rolls and someone singing the lyrics.

We’ve given you a lot more than that. We’ve given you a banjo break that is actually learnable and playable. And one that sounds a whole lot like Earl’s. I can’t say that it’s actually beginner level, but it shouldn’t be too hard if you’ve gotten “Foggy Mountain Breakdown” under your belt and can hold down a 4-finger D chord. We put it on Easy Songs for Banjo because so many people had been asking for it, and we wanted to get it out there ASAP. Even if it is a leetle harder than strictly-speaking-easy.

So, have fun with Jed!

Sample Clip from “Easy Songs for Banjo”

Sunday, March 29th, 2009

March Murphy Method Newsletter

Saturday, March 28th, 2009

If you don’t receive it via email, you can see our March newsletter here.

Joe Forrester

Friday, March 27th, 2009

Red HenryI wanted to take a moment today for a tribute to a fine gentleman who is also one of the founding fathers of bluegrass music. I’m speaking of Joe Forrester, of Tennessee, who recently celebrated his 90th birthday in Nashville. Here’s a photo from a Nashville party a few years ago, of Joe swatting the guitar (he plays AMAZING rhythm) while I take a mandolin lead:

Red Henry, Joe Forrester

Joe played bass with Bill Monroe for about six months in 1945, and was in on the ground floor as what we call “bluegrass” was being invented. The band lineup was Bill Monroe on mandolin; Lester Flatt on guitar; Earl Scruggs on banjo; Joe’s brother Howdy Forrester on fiddle; and Joe on bass. Since this lineup of the band did not record with Bill (wartime restrictions greatly hampered recording in that era) they are little-remembered today, but they were a hot group. They immediately preceded the more-famous Monroe lineup with Chubby Wise and Jody Rainwater which is now regarded, since they recorded a LOT with Bill, as the “original” bluegrass band. But Joe and Howdy were there first!

Backup 2

Thursday, March 26th, 2009

Casey HenrySomeone suggested to me, as I was getting ready to film the new Easy Songs DVD, that we do a video solely on backup. Of course, vamping is the first step in any banjo backup and we do have a video on that. There are some difficulties inherent in teaching more advanced backup. For one thing, in order to move beyond vamping, you have to be able to hear your chord changes absolutely cold. You can’t spend one second of time thinking about the changes if you’re also going to be thinking about doing backup licks at the same time.

For another thing, backup, by its very nature, is improvisatory. There is no set order in which to use backup licks. It’s more like there is a pool of licks and you have to be able to tell which one is the appropriate one to use in each situation, and you have to make that decision very quickly. But to teach the licks you have to teach them in the context of a song, so it’s almost necessary to make up an artificial “backup break” to a specific song so the student can learn both the licks and how they are used. [This topic is sounding familiar. I think I wrote a Banjo Newsletter article on it last year.]

But, all those difficulties aside, that idea is rattling around in my head and I’ll no doubt refine it throughout this year as I teach as workshops and camps, and with my live students. Chances are you’ll eventualy see a backup DVD in our new releases.

Backup

Wednesday, March 25th, 2009

Casey HenryIn the last couple weeks, with two of my more advanced students, we’ve been looking at a particular backup lick that Earl uses sometimes. It’s found on medium-to-slow tempo songs and is done with two-finger chords on the first and second strings way up the neck. (Here is where tab would come in handy. I could just show it to you and say–this lick!). One thing I sometimes have trouble with is finding the perfect example of a lick I want to teach. It can be a lick I use all the time, yet I’m not sure what song it came out of originally. For these backup licks I actually found three songs, which I’ll share, first of all so that you can go listen to it, second of all so next time I want to teach it I can come and look and see what songs I used!

1.) “He Took Your Place” – The lick comes in on the second verse, 1:08 on the counter. This is the earliest example, from 1955, which was pre-dobro in Flatt and Scruggs, so you can hear the banjo really well.

2.) “On My Mind” – Earl uses the lick in the second half of the chorus, starting at 1:08, and again at 2:29. Now there’s dobro in the band and therefore less banjo backup.

3.) “Crying My Heart Out Over You” – Two short uses here at 0:53 and 2:18.

Recording

Tuesday, March 24th, 2009

Red HenryWell, as you can guess, “Recording” is ‘way too big a subject to be covered in just one day’s blog. But I wanted to mention that our friend Wes Thacker, a fine singer-songwriter from Virginia, has just released his new CD, “Vault of My Old Memories”. The disc features a lot of good original material along with some bluegrass standards, and some friends and I helped Wes record it.

We recorded in a small studio not far from Winchester, and it was a good experience. I played the fiddle and a bit of mandolin; David McLaughlin played most of the mandolin and all the banjo; and Marshall Wilborn supplied the bass. Wes had already put down most of the basic tracks before we got there, so all we needed to do was to record own instrumental tracks, which only took a couple of sessions.

It helps, in a recording session or a live band, if the people like each other. So this was an ideal session in that regard, and I could give Marshall and Cousin David some trouble as we sent along, to help keep things on a live, light note. We got a lot of the tracks down in just one or two tries, so Wes’s music sounds fresh and lively.

Interested in the CD? You can contact Wes at  wesandt@aol.com .

Misfits Jamming Again!

Monday, March 23rd, 2009

Murphy HenryJust wanted to report that I have another group of Murphy’s Misfits who are meeting every week to jam. We’ve just started, so we have only two jams under our resonators (so to speak) but already I’m seeing great improvement.

You know, it took me a long time to figure out what is now as plain as the picks on my fingers. You can’t become a banjo player by just picking alone at home. Even if you’re learning by ear, using the Murphy Method. Sure, you can learn a bunch of songs, songs that even sound good!

But you’re not likely to pick up on all those other little nuances of playing that you learn from trading breaks with others in a jam. Most of this stuff involves simply being able to think fast on your feet. To be able to play a banjo tune and think about something else at the same time! How and where do I come in for my break? On every song I know how to play. What are the chords? To every song I know. How can I quickly get back into vamping after I’ve finished my break? What do I do if I forget my break? (Keep trying!) What do I do if someone else forgets their break? (Help them out! Play a little of the break and see if they can pick it up.)

That last reminds me of something one of my beginners told me about learning to jam. When she was next in line to play a break and the person in front of her got lost, she would often jump on in and start playing her break from the point that the person had faltered. I told her that was, in my book, considered bad jam etiquette. You can help a person out by jumping in—to show them where they should be playing–but when they recover then you should back off and let them finish. I told her that a person’s allotted time to play is sacred. Okay, sacred is not the right word, but sink or swim, it’s all theirs. And, yes, it is hard sometimes to listen to someone floundering. And it’s even harder to watch them come back in at the wrong place. But this too will pass, as my student and friend Bob Van Metre is wont to say. A student jam is all about learning. And I have learned the best thing to do is just grin, keep going, and come in at the correct place when it’s your turn. After all, somebody did this for me once upon a time when I was learning to play. Hope each and every one of you will make an effort to find somebody to pick with!

Banjo Contests

Friday, March 20th, 2009

Casey HenryOne of my students is playing in a banjo contest this evening. First prize is $200, so he’s really hoping to win. This is not the first contest he’s played in, and I think he’ll do pretty well. Yesterday at his lesson we worked on his contest numbers: “Big Tilda” and, if he needs a second one, “Whitewater.” We were working on “Flint Hill Special,” but the contest rules said no tunes that use Scruggs tuners, so that one had to go.

I’m not a big fan of contests. I played in two of them when I was younger. At the first one I took second place, which I was satisfied with. At the second one I didn’t place and, in my humble opinion, the people who won were not better players than I was at the time. That was my last contest.

One reason I don’t like contests is that the judging is so often biased. The local favorite often wins, and the judges often know some of the contestants. The only really fair way to run a contest is with blind judging—that is, when the judges can’t see the contestants and the players have numbers rather than using their names for identification. That’s the way the prestigious Winfied Kansas contests are run (I judged the banjo category one year) and I believe that to be the best way.

But my student is, to some degree, part of a group of kids who see each other at different contests, and his band is playing in the band contest at this same event. I think that’s probably the way to go into contests—go to have a good time and see your friends, jam some, and if you win some money, that’s an added bonus. Because music, first and foremost, is not about competing, it’s about entertainment and social interaction, and if you forget that, it’s not much fun at all!