Archive for April, 2009

Misfits’ Jam

Thursday, April 30th, 2009

Murphy HenryThings were a little lean at the Misfit Jam tonight. Only two folks at the jam: Bob Mc and Logan. But we had a good time anyhow!

For a while there, it was just Logan and me, so we traded some banjo breaks on:

Dixie Breakdown
Redwing
Wildwood Flower
Shucking the Corn

Then Bob graced us with his presence, so we let him warm up by playing:

Banjo in the Hollow
Cripple Creek
Boil Them Cabbage

We tried the new idea of letting the banjos play together during this warm-up time. Of course, there was the inevitable confusion about what I meant when I said “play together.” I should have said, “Both of you play the lead at the same time.” (I forgot I was talking to banjo players!)

After this we launched into:

Foggy Mountain Breakdown
Old Joe Clark (in G, since there were no pesky fiddlers!)
When the Roll Is Called Up Yonder

Doing “Old Joe” was tricky, since Bob only knows the A part. So I asked Logan to finish out Bob’s breaks by playing the B part and then play his own full break. Logan came through like a champ!

Then for our last song, I asked Bob if he was up on both “When The Roll” and “I’ll Fly Away.” He said both were good for him. Then I turned to Logan and asked, “Which one of these do you not play?” He said, “ ‘When the Roll’.” I said, “Good. We’ll do that one!”

I think Bob was mildly startled by my choosing the song Logan didn’t know, but I wanted to give him a chance to improvise a break. Which he did quite well. Then after we’d been through the tune a few times and his break was coming around again I said, “Take a high break!” Logan was caught a little bit off guard, but came through with flying colors. He also was putting in some great backup licks we’ve been working on. So, all in all, that was a good tune to end on.

And now I have to quit Blogging and rush down to Tom’s Market for some “possibles” before it closes! “Oh my bucket’s got a hole in it, yes, my bucket’s got a hole in it….”

Brilliant Exercise

Wednesday, April 29th, 2009

Casey HenryOne of my students has been having right hand trouble lately. At first she thought it was a right hand position problem, so for months she worked on changing her hand position to one that would enable her to play smoothly. As the problem continued, though, we gradually realized it was not a position problem but a physiological one. She went to a chiropractor who discovered she had a pinched nerve in her neck that was causing the lack of control she was experiencing in her right hand. Since it takes months for that kind of thing to be treated, we were looking for alternative things to do until she sees physical improvement.

One of the ideas she had was to use a flatpick instead of fingerpicks. I was heartily in support of this idea. I have heard a banjo flatpicked Scruggs-style (by none other than David McLaughlin) and it sounds strangely cool. Two weeks ago I gave her a flatpick and we went through the rolls and a few of the beginning tunes (”Banjo in the Hollow”, “Cripple Creek”, “Foggy Mtn. Breakdown”). When she came back the next week she was playing with ease, albeit slowly. The strings on a banjo are pretty far apart compared to other instruments regularly played with a flatpick.

I realized that this would be a brilliant exercise for any student. You have to know your rolls cold in order to play all the same notes with a flatpick as you do with your fingerpicks. Try it. Play through “Banjo in the Hollow” with a flatpick (or your whatever your easiest song is) and see if you can do it. It sounds pretty neat and is a brilliant brain exercise.

Practice: Getting in Shape!

Tuesday, April 28th, 2009

Red HenryIt’s almost time for to go perform at another festival, which means it’s time to get in shape! People who perform regularly need to stay in shape just like those who are learning. In fact, there’s a big resemblance in what they need to do.

During the several days before I go to play a show, I have to practice several ways:

First, over the last week or so before the show, I need to play all the songs and tunes we might be performing, several times for each one, so that I can play them without thinking. But this is low-pressure work, in the house, so I need something else: Second, I need to find places to pick informally with other people for hours, so that I can get in shape musically to play whatever I need to. But even this does not eliminate the need for: Third, finding some performing situations, even if I have to create them myself, in order to get used to playing my songs and tunes in front of an audience.

All three of these kinds of practice are essential, and all three are different from each other. When I practice at home, there’s no way to really work up the energy and physical playing-workout of a good picking evening, spending several hours with the instrument in my hands, constantly getting in shape. And even that kind of playing does nothing to prepare me for getting in front of an audience. There’s no substitute for THAT! — the only way to practice performing is to perform. So during the last weeks before a festival, I stay pretty busy musically.

This applies to when you’re learning music, too. When learning to play bluegrass, and beginning to play music with others, you need different kinds of practice! First of all, you have to learn your tunes from lessons or DVDs, and practice them at home. Second, you need to play the tunes over and over without even having to think about them, so that you can play them in front of other people! Play them 10 times each, and then keep playing! And third, you need to practice all your tunes STANDING UP, because the feel of your hands, and the weight and sound of the instrument, are so different when standing compared to when you’re sitting down. When you practice, no slumping in a chair or half-lying on the bed while you go through your tunes one or two times each! You have to STAND UP and PLAY AND PLAY if you’re really going to learn to play music with others, which is the goal of so many of us in this kind of music.

That’s the lesson for today! –See you at the shows!

Greetings From Georgia

Monday, April 27th, 2009

Murphy HenryGreetings from Georgia! I’m down here doing my weekend with my folks. This visit happened to coincide with the nearby appearance of our friends Robin and Linda Williams, stars of radio (Prairie Home Companion) and screen (Prairie Home Companion). They and their Fine Group were playing at the Crimson Moon in Dahlonega (pronounced “Duh-lon-uh-guh), a mere hour’s drive from my hometown, Clarkesville. So I decided to catch their show Friday night on my way down. I met my sister Claire there for supper at 7, followed by the show at 8.

Robin (whose middle name is Murphy) and Linda were in fine form for two sets of mostly original music primarily drawn from their new album “Buena Vista.” (I was gonna tell you how Robin said that was pronounced in Virginia, but I can’t figure out how to spell it phonetically! Suffice it to say that “Buena” rhymes with “June” or, more precisely, “June-uh.” I had no idea this blog would include so much about pronunciation!)

Linda was playing more clawhammer banjo than I’d seen her play on a show before which was a wonderful treat. Putting the bottom in the band on electric bass as always was Jim Watson whose rendition of “Hesitation Blues,” modeled on that of the great banjo player Charlie Poole, was a highlight of the show. And on the fiddle was none other than Chris Brashear whom I had never seen with the Fine Group before. Chris is a fine songwriter in his own right, and his song “Mason’s Lament,” (which Lynn Morris recorded) is one of my faves.

Robin was kind enough to recognize me from the stage (always flattering! ) and to dedicate “Blue Ridge Cabin Home” to me. Little did he know that BRCH is so widely used by me that I now abbreviate it BRCH! It’s my “go to” song for both vamping and improvising, and at camps it’s become the perfect vehicle for a group lesson in how to play a high break. (And can be found on at least two, if not three, of our DVDs!)

Apropos of nothing musical, the woman I was sitting next to (from Gainesville, Georgia) turned out to be good friends with my best friend from Camp Echoee, Jane Adams. At the closing ceremonies of camp one year, Jane and I both got ribbons for being “Head Skinny Dippers.” Whoo hoo! Those were the days!

And on that note, I will turn myself to checking on my parents, fixing a cuppa, and starting on the unbelievably hard crossword puzzle in the Atlanta Journal and Constitution!

More Easy Songs selling like Hotcakes

Friday, April 24th, 2009

Red HenryWell, folks, if you’re on our Murphy Method email list, you know what’s on my mind today: Our new DVD, Easy Songs for Banjo! This great new DVD has been setting sales records ever since we first introduced it a few weeks ago, and with our email newsletter that Casey just sent out, we’ve got more and more orders coming in. I can tell you that it’s keeping me busy, downloading orders from our website and filling them as fast as I can.

Lots of folks are ordering our other new banjo DVDs too: Vamping (Beginning Banjo Backup); Soldier’s Joy and Other Traditional Favorites; and Capos, Chords, and Theory. These (along with all our Murphy Method products) are here just waiting for you, so order yourself up some fun learning and playing with Murphy and Casey!

That’s all for now! I have to get back to the orders! Good picking to everybody–

Misfit Jam

Thursday, April 23rd, 2009

Murphy HenryWe had our biggest crowd ever at the jam tonight: Mark, Bob Mc, and Logan on banjos; Sandy on fiddle, Bob Van on bass, and Ellen (and me) on guitars. (We missed you Susan!)

Here is our song list:

Cripple Creek
I Saw the Light
Foggy Mountain Breakdown
Redwing (Sandy and Logan)
John Hardy
Blue Ridge Cabin Home
Boil Them Cabbage

Normally I like to start a jam with “Banjo in the Hollow” but that’s not a good fiddle tune, hence the steadfast, ever-popular “Cripple Creek.” (Which, I might add, we do in G. Most fiddlers play it in A, but Sandy knows her break in G. Did I teach her that?)

Actually, even with “Cripple Creek” we got off to a rocky start. So rocky that Sandy asked, “Are we going to play any other tunes tonight?” To which I replied, “No, we’re going to play ‘Cripple Creek’ for an hour!” All in good humor, of course. It was only by the time we hit “Boil Them Cabbage” that the group as a whole was begining to click and to sound warmed up. And of course, then it was time to quit!

Which brings up the eternal question, “Why can I play a song well some nights but not other nights?” And its twin sister, “Why can I play this song fine at home, but not in the jam?” We had a lot of that going on tonight and I have NO idea why. I can only say, as I said to them, that it happens to the professionals too. Perhaps not as much on the instrumental parts of a song (we’re pretty good at faking that when we get lost!) but forgetting the words is always humiliating. Not, perhaps, if you’re playing a show for friends (and can make a joke out of it) or a party (when no one is listening) but when you’re doing a really important event and you forget the words. Whew! That’s rough. All this to say, I really do know how you feel when you can’t remember your break. Been there, done that. It’s awful. All you can do is get back up on the horse. It will get better.

Logan (age 16) was playing exceptionally well tonight. (And so were you, Sandy! <G>) In addition to the aforementioned “Redwing” which he’s just learned, he also played tasty high breaks to “I Saw the Light” and “John Hardy,” Earl’s break to “Blue Ridge Cabin Home,” and then, to totally show off (at my request), Don Reno’s “Dixie Breakdown.”

When the jam was officially over at 8 pm, Sandy and I played a few twin fiddle tunes (with Bob Van on guitar) for the folks as they were packing up. We gave ‘em “Golden Slippers,” “Battle Hymn of the Republic,” and “Down Yonder.” I could have fiddled all night, but we didn’t want to wear out our welcome. Better to leave ‘em wanting more! And better to leave you wanting more too!

New “Easy Songs” Clip

Wednesday, April 22nd, 2009

Casey HenryFor your viewing pleasure, we’ve extracted another clip from the new Easy Songs for Banjo DVD. This one is the bloopers. Mostly, it’s just me and Murphy cracking up.

New “Ask Murphy” Q & A Posted

Wednesday, April 22nd, 2009

Casey HenryToday a new edition of our “Ask Murphy” questions went up on the website. This feature, which we originally intended to be monthly but has really turned out to be more like quarterly, or thirdly (what do you call three times a year, anyway?), answers questions we get from you students. Today’s edition has an exchange with one beginning student who felt like he was at a wall with his playing and Murphy offers her advice on how to move forward.

Picking for Proficiency, Picking for Pleasure, and Performing

Tuesday, April 21st, 2009

Red HenryLast week I had a some music-nights that showed some good examples of how and why I like to play. Sometimes you play for one reason, and sometimes for another. Last weekend I had a solo show scheduled for Saturday night, and I really needed to get in shape, so–

On Thursday, I went over to a place nearby where folks gather for weekly local picking. Well, local picking can vary a lot in its quality and enjoyment, and this evening was about average. When we started, there were several guitar players, including one who could hold a rhythm pretty well; a banjo player, who (unlike most banjo pickers I know) had to be persuaded to take his banjo out of its case, and remained reluctant; also one or two reluctant fiddlers; and me, on mandolin (not reluctant at all).

As often happens in local pickings, the group’s rhythm was a little out of focus. So along with playing most of the lead, I played a VERY simple “chunk”-chord rhythm behind the singers and the banjo player, doing nothing fancy in the way of backup, but just defining the rhythm as clearly as I could. This helped everyone keep the rhythm together.

Along about an hour into the session a couple of good younger pickers showed up, and they put some new vocal and instrumental energy into the music. We picked for about another hour. Getting the lead and rhythm right in that still-somewhat-cacophonous situation really put me through a workout. The session was great for the purpose I had in mind: getting in shape, vocally and instrumentally, for my Saturday night show!

The next night, Friday, I  played with the Winchester Celtic Circle, a group mostly of older folks who get together and play each 3rd Friday at Borders Books. It’s always enjoyable to play music with nice folks, and this evening was no exception. I really had to concentrate, though, on getting the music right– it’s not the kind of music I play every day– and I was pretty tired after we’d played our two hours. But it was fun, and great practice too!

Saturday was my big evening musically, playing a solo show. Now, when you get used to playing solo, it can actually be less work than playing along with anyone else. That’s after you get used to it! I have only played solo a few times and am definitely NOT used to it, so I have to work extra hard to get into the musical and entertaining groove. But I played through a couple of hours of music and stories without any problem, and enjoyed it. This was in large part due to the practice I’d gotten on Thursday and Friday! Playing music sure does make it easier to play music. I guess that’s why people say what they do about practice….

For All You Fiddlers

Monday, April 20th, 2009

Murphy HenryToday’s blog is written by my Fiddle Sister, Sandy, who is also one of my current crop of Misfits. Sandy is a success story nonpareil. (I always wanted to use that word! I don’t know how to pronounce it but I know it means “without equal.”) Sandy has a fantastic ear, an ear, as you will read below, that lay dormant for years. So sad about that, but better late than never! I can’t tell you how happy it makes me to have helped open the door for her new musical adventure. And that’s all it took: just pointing the way. She did the rest!

FIDDLE AWAY!

Did you once-upon-a-time play the violin?  Maybe like me, you started in elementary school with group lessons.  Maybe like me, you played for years and then put it into a closet.

I took it up again—after 40 years!  Read on.  When I was a fourth grader, I started group lessons which lasted a month.  Then I was onto private weekly lessons.  I played—from the age of nine until I got through high school.  When I started college I dropped all music.  Of course, I’m sorry now, but who can tell a teenager anything?

Thinking back on it, I’m not sure why I quit playing.  I think it was because I wasn’t a “star” and I didn’t like the kind of music I had to practice.  Do you know anybody who can choose a teenager’s music?

When I played the violin, playing by ear was a “no-no” and discouraged by both my teacher and my dad.  I was to play classical music with the notes in front of me.  That’s all well and good if that’s what a kid wants to do. However, I had a good ear and could play any tune I knew. (Well, forget those with too many sharps and flats).

When nobody was listening, I often played favorite tunes from the hit parade by ear.  (Are you old enough to remember “How Much Is That Doggie In The Window?” or “Come On To My House”?)

Classical music and opera wafted through our home all the while I was growing up, but I always loved other kinds of music.  Even after stopping lessons, I hauled my violin with me wherever I lived, but I never played it.  Built about the time of World War I, it once belonged to Wayne King’s father.  It has a great sound.

OK, hold on as we go fast-forwarding.  I grow up.  Get married.  Have kids.  And retire to Winchester, Virginia, with my husband (now also old).  And what do I do but dust off that old fiddle, get some new strings, order a bow and start playing again!  Forty years later.  With Murphy!  By ear!  How good can life get anyhow?

I saw Murphy in action a number of years ago on our historical walking street mall one day playing her fiddle with one of her banjo students.  I was hooked.  Immediately!  I returned to lessons—this time by ear and for fun—with Murphy.

Of course, this music is new to me, and it’s not as easy as picking up the fiddle and working out “Tennessee Waltz” which I remember from my childhood.  I have to listen closely and try to remember from one jam to the next which key and which note to start on. Then I’m ready to roll.

Murphy put four of us kindred spirits together (Fiddle Sisters) to play both Christmas songs and other tunes.  We played by ear.  We harmonized.  We played for holiday festivals.  And, we grinned all the while!  It was unadulterated fun!

In addition to holiday songs, we developed a repertoire of tunes like “Golden Slippers,” “Down Yonder,” “Amazing Grace,” and “Faded Love.”  I knew these songs from years ago, so I just played them.  We actually skipped that middle step of reading the notes from a page, processing them in our brains, and producing the sounds through our hands.  Wow!  I went from reading music to just playing it!  It was such a liberating experience.  Since we already knew many of these tunes, now all we had to do was to play them.

Remember Arthur Murray, the ballroom dancing teacher, said, “Get back into life, try dancing!”  I’d say the same goes for playing an instrument—get going.  If you’ve always wanted to play, now is the time.  You’ll be so glad you did, and you’ll wonder how you were ever happy before without the music!  I’m partial to the fiddle, of course, but I imagine the same goes for other instruments.

I have never ever been happier making music than I am right now.  Murphy is a terrific teacher who makes it all fun.  In addition to playing bluegrass with the Misfits, I play renaissance music with another group, and traditional dance music with a couple of Celtic groups. My recipe for getting back into life is to start making music!  And, I promise you’ll live happily ever after…

Sandy Lore
Winchester, Virginia, in the beautiful Shenandoah Valley