Archive for March, 2009

Hand Position

Thursday, March 19th, 2009

Murphy HenryI have one thing to say about right-hand position on the banjo: if it hurts don’t do it! If someone tells you you should hold your hand in a certain way and it hurts don’t do it! If someone says this is the way Earl did it or J.D. did it and they are great banjo players so their way must be the right way and their way hurts you don’t do it!

And now I’ve said more than one thing, but the sentences all end the same way so it really is just the one thing, said three times in different ways in case you didn’t get it the first time: If it hurts don’t do it!

I don’t care what anybody says you do NOT have to keep both fingers (ring and little) down on the head. Nor do you have to have a great deal of arch in your wrist. There is NOT NOT NOT only one “correct” way to hold your right hand. There are many “correct” ways to hold your right hand (that’s the hand with the picks on it [unless you play left handed :-) ] ), and you have to find the one that is right for you. And once you’ve found something that works and is comfortable, stick with it. Don’t be changing your hand position just because someone tells you to.

First Banjo Workshop of the Year

Wednesday, March 18th, 2009

Casey HenryYesterday I got back from an extended weekend trip up to Delaware, Virginia, and Maryland, primarily to teach a workshop at the Wilmington Winter Bluegrass Festival. It was a three-hour-long session on Saturday. Since anybody at the festival could come, we had a wide range of abilities—from beginner to advanced intermediate. That’s always a hard split to negotiate. Almost by default you have to teach to the middle, so the material is going to be too fast for the beginners (something I always feel terribly about), but the more advanced players may already know it (something I also feel bad for).

But I think (I hope!) most of the attendees went home with something that they can use, something that stuck in their brains. I mostly used material that is found on our new Easy Songs for Banjo DVD, showing the students the high break to “Blue Ridge Cabin Home,” and a back-up roll to go with the same song. Then we took that break and moved it to the key of C (without a capo). Then, in the last hour, we worked with “Amazing Grace.” I showed them the two breaks on the DVD and then, in an inspired moment, I realized that you can take those breaks and move them around to almost any key, since they are based on the four-finger vamp chords and use no open strings. So we moved the break to A, B, and F, and people mostly got it.

I got some positive feedback about the workshop afterwards, but one beginner did come and tell me he was lost after the fist five minutes. Hopefully he’ll get the DVD and be able to go through the material more slowly.

This is just the first workshop of the season, and it got me excited for the next one, which is Banjo Camp North, with Kaufman Kamp to follow. They’ll be here before you know it!

Good “Banjo Manners”

Tuesday, March 17th, 2009

Red HenryLast night I went to a picking session not far from our house. This weekly session has been put on for the last several months by a couple who moved here recently, and they are doing a fine public service for local musicians by giving us a chance to get together and pick.

I usually have a fine time at the session. Although few of the pickers are pros, they are usually competent musicians and nice folks who know what to do in a jam. But there are exceptions to this behavior.

A couple of weeks ago a new banjo player showed up, and he did not have good “Banjo Manners”. As we played tunes and songs, he played LOUDLY all the time— right through all the other people’s playing, and all during the singing.

The session’s hostess, who is an excellent musician and has one of the best voices I’ve ever heard, began singing early in the evening, but with that banjo player picking loudly all through her song and practically right in her ear (she’s short and he’s tall), she sang just that one song and then never sang again all night. And I didn’t blame her. And I didn’t stay very long myself, but left so as to get away from that guy’s poor Banjo Manners.

Folks, when you’re in a session, don’t let that banjo player be YOU. In a session, don’t just listen to yourself. Always be listening to the other instruments and singers. if you can’t hear them very well, somebody’s playing too loud, and if you’re holding the banjo it may be YOU! Let everybody else be heard as well as yourself! Use good “Banjo Manners” and make everybody happy.

Another Bob Story

Monday, March 16th, 2009

Murphy HenryOkay, this is about a different Bob. This is Bob from West Virginia. Guitar and bass student and friend. He’s been taking off and on (mostly on) for 15 or 20 years now and can play some really nice basic lead breaks on the guitar, breaks he comes up with all by himself. I help him occasionally with the timing.

So I’m sitting by Bob and his wife Barb at a recent bluegrass show at a new club in Winchester. The group on stage (Chris and Red Henry, Jimmy Steptoe, Wayne Lanham, Teri Chism) is singing “Angel Band.”

Me, to Bob: Do you play that yet?

Bob: No.

Me: We should work on that. It’d be a good one.

Bob takes his pen from his shirt pocket and starts writing the name of the tune in his hand.

Me, ragging on Bob: I guess that’s your Hillbilly Blackberry.

Bob, without missing a beat: No, it’s my Palm Pilot.

And I just cracked up.

A Man and his Van

Friday, March 13th, 2009

Red HenryAmong the pictures which Jinx McCall sent us recently is one which brings back a lot of memories. It shows the great Florida folksinger Will McLean, relaxing and enjoying some music, attired as ever in his black stocking-cap and sitting with his old white van in the background:

Will McLean

We (Red and Murphy & Co.) recorded Will’s great song “Hold Back the Waters” on a 1977 album, and Casey & Chris & the Two-Stringers made a next-generation cut of it on their own CD a few years ago. Christopher and I put two of Will’s songs on our “Red and Chris” CD as well, showing our respect and love for Will and his music.

Will wore that stocking cap nearly all the time, and he must have needed it on what looks like a chilly festival morning. And he was rarely far from the old white van in the background, which after his wife Alice died was not only his transportation but also his home. A tremendously creative individual, Will no doubt was forming the words to some new original song in his head that morning, and his gentle Southern-gentleman personality seems to come right through the photo and a lapse of 30 years. We miss you, Will!

Funny Story

Thursday, March 12th, 2009

Murphy HenrySo, Bob (the golfer) and I are having a lesson. We are playing “When The Roll Is Called Up Yonder.” (From the Amazing Grace Gospel Banjo DVD.) During the last month or so, we’ve been working a lot on coming back into a song when you mess up. And we’ve done much work on this specific song. Still, tonight, Bob keeps getting lost somewhere in the middle and can’t seem to get back in. (Okay, sometimes he makes it back in at the end of the song, coming in on the tag lick. And then he is able, sometimes, to start the song over. So we’re getting there. And he is both patient and determined so eventually this won’t be a problem. But tonight it is a problem.)

So after about ten reps of the song, I stop us.

Me: What’s happening?

Bob: I’m losing my focus.

Me: What do you mean?

Bob: My mind keeps drifting off and I start thinking about other things.

Me: Like what?

Bob: Well, at one point I was wondering, “What song am I really playing?”

Need I say more?

Bluegrass Jamball

Wednesday, March 11th, 2009

Casey HenryEver have trouble thinking of songs at a jam session? How many times has somebody asked you to “pick one” and your mind instantly goes blank? The solution to all of these problems is here!! The Bluegrass Jamball will provide you with hours of jamming entertainment. Just shake it up and look inside to see what the magic jamball will reveal to be your next tune! Filled with titles as well as categories of songs (i.e. “dead mother songs”, “murder ballads”, “barn burner in G”, etc.) you will never again be at a loss for what to play. Plus, its handy keychain size makes it possible to carry it with you wherever you go! Get yours today!

The Florida Bicentennial Bluegrass Band

Tuesday, March 10th, 2009

Red HenryA friend from our Florida days, Jinx McCall, has just sent us some remarkable photos she took between about 1977 and 1980. Here’s a look at a short-lived group, the Florida Bicentennial Bluegrass Band:

Florida Bicentennial Bluegrass Band

The band was short-lived only because it existed just to commemorate the nation’s Bicentennial. We performed from about 1976 to 1979.

The leader of the group was our friend Dale Crider. In the picture he’s playing his fine old Gibson guitar, and no doubt singing one of his great original songs. On bass is Linda Crider, a good singer and musician, who was then married to Dale.

On mandolin and banjo you’ll no doubt recognize Murphy and myself, a few years younger than we are now. We were primarily performing full-time with our own group, Red and Murphy & Co., but we took time to play any gigs that Dale had to offer. The Florida Bicentennial Bluegrass Band (like the Bicentennial itself) didn’t last for many years, but we had a good time!

What If I Don’t Have Any Talent?

Monday, March 9th, 2009

Murphy HenryThis Blog was inspired by Marty who read the following in the March Banjo Newsletter and sent me an email. This is a quote from a banjo player and teacher:

“All teachers occasionally get a student who has no musical promise at all. What do you do with them? I just keep trying to teach them until they reach their own conclusions.”

Marty then wrote, “My heart stopped for a minute and I thought, ‘Hey, he could be talking about me.’ Then I decided that if he couldn’t teach them, they should have tried a better way and used the Murphy Method….I still agree with the perspective that if a willing student can’t learn it is more about the teacher than the student.”

I replied thusly:

Bless your heart (as we say down South). I’m sorry that article gave you even a moment’s pause. You have plenty of promise! And I mean that. And what is more important, you have stick-to-it-ness and desire. Which, in the long run, is the most important. If, as the Good Book says, you have a talent and bury it, what good is it?

I agree with you about it usually being the teacher. In fact in my BNL article in 1983 (!), I quoted a professional tennis teacher who said that the attitude of many teachers is “If you don’t learn what I teach you, you’re a dummy.” His approach was, “If you don’t learn, I’m the dummy.” That’s the philosophy the Murphy Method is built on.

I have found that most people, regardless of age, have some musical ability if you just explore deep enough. For instance, if I encounter someone who really seems to “lack talent” on the banjo, I make things as simple as possible. In the beginning this might include simply strumming the open G chord and trying to play in time. In that regard the banjo is the easiest of the instruments to teach, because the string are so light (not like guitar or mando) and the chords (G, D7, and even C) are so easy to make. I then take that foundation stone and build on it.

Unfortunately the musical talent we all are born with sometimes gets buried by inattention or covered up by other life experiences. Or, worst of all, a well-meaning adult (parent or teacher) tells a child that she or he has NO MUSICAL ABILITY. Kids then carry that damaging—and false—belief into adulthood where it is very hard to shake. But it can be shaken!!! I make it my job to shake it! If any of you believe this about yourselves IT’S NOT TRUE! And it’s not too late! (I feel like I’m giving an alter call and we should all stand and sing “Just As I Am.” Perhaps in a former life I was a preacher!) 

I have taught many people who have come to music late in life and who get a great deal of pleasure out of being able to play a few songs. I get a reciprocal amount of pleasure watching them learn and hearing them play. I have also taught a number of adults who come to the banjo in their middle years and learn to play lots of tunes, learn to jam, learn to improvise, and even form bands.

The keys are: learning by ear, sticking with it, taking it slow, and never giving up!

So if you’re asking yourself right now if you have any talent, the answer is: YES!

It’s Sinking In!

Friday, March 6th, 2009

Casey HenryToday my student Kyle came for his lesson. Kyle is sixteen and I’ve been teaching him for almost seven years. He’s turning into quite a good player and he’s recently joined a band with some other young pickers, something I’ve been telling him he needs to do for at least two years. Being in this band is stretching him in just the ways I hoped it would. There is a girl in the band who does some singing, which challenges Kyle to play songs in alternative keys, like “Head Over Heels” in D.

At a recent gig she sang “Sunny Side of the Mountain,” which they had practiced in maybe A or B—a key where he was playing the break out of the standard G-position. Just before performance time, however, they changed it to D, which meant he either had to capo up to the seventh fret or find a new way to play the break. He chose to capo at the second fret and play out of C-position.

He said he had just cobbled the break together, but he played it for me at the lesson today and I was delighted to hear that he was playing melody! All those breaks I made him learn in C, all the improvising and making him pick out his own breaks to songs, as painful as it was at the time, really did sink in! We tweaked it a little bit to get a hair closer to the melody, but the break that he came up with all on his own was excellent. I was so proud!