Archive for February, 2010

Tone Rings

Wednesday, February 17th, 2010
Casey Henry

Casey Henry

As I sit here staring at my blank computer screen trying to figure out what to blog about, something of necessity banjo related, something that will be interesting to you, as opposed to blogging about the amazing roasted cauliflower I made last night for supper, I hit upon the subject of tone rings. Now, tone rings are not very interesting to me. I don’t really care about banjos in a technical way – when peopple start talking about switching parts and trying to get that pre-war sound my eyes immediately glaze over. But people don’t believe me even when I tell them this in so many words. I don’t care what a banjo IS – the wood, the metal, the strings, the picks – I only care if I like the way it sounds or not. And I’m not interested in trying to improve the sound. Once I have a sound that is satisfactory to me, I’m done. I’ll play it for the rest of my life.

I tell you all this so that when I tell you that yesterday I played a banjo that had a tone ring that I a.) noticed and b.) fell in love with, you’ll realize how amazing the experience has to be to get past my very high level of not caring about banjo parts.

Steve Huber has been working on a new tone ring. He said his original ring was “the” ring, but apparently it wasn’t. This new ring is “the” ring. And I had absoultely no interest in trying it out, because I don’t care. But yesterday a friend of mine put his banjo in my hands and said “pick something on it,” and I did, because it would have been rude not to. And holy. Crap. It was freakin awesome. I don’t think I’d ever played that banjo before, so I have no basis for comparison, but I could have played it for a long time. (Actually, I couldn’t have because my next student was standing there, waiting for me to be done.) It had one of Steve’s prototype rings in it and those thirty seconds that I played it were enough to have me considering which banjo of mine I might be able to put one of those rings in. And that hasn’t happened in the eleven years since I got a Huber ring put in my style 11.

So I just wanted to share. I don’t think the rings are on the market yet, and I’m sure they will be expensive, but they may quite possibly be worth it.

Take Your Pick!

Tuesday, February 16th, 2010
Red Henry

Red Henry

Now, this little blog isn’t about banjo picks, so rest easy that there won’t be any battles started about those. There are as many opinions about banjo picks as there are banjo players!

But today’s story is about FLATPICKS. We sometimes take them for granted, but not everyone knows what they are. Once a lady had seen our ad for the “Flatpicking Guitar DVD”, and called us to ask, “What does ‘flat picking’ mean?” Well, we did our best to explain, but if you don’t know what a flatpick is, then this won’t mean much to you.

I have a particular, favorite kind of flatpick. These were made of a particular kind of plastic by just a few companies (such as Gibson), and they’re no longer made. Well, I had hoarded about a dozen of these picks, and I used or lost less than one a year, thinking they were a lifetime supply. Then, about a year ago, I put them in a safe place.

Well, you know what that means. I lost them. They were so safe that I couldn’t remember where I’d put them. I looked in every great “safe place” I could think of. I only had two of the picks that I hadn’t put away, and I thought maybe those two would have to be my lifetime supply…

That is, until two days ago. The picks were on a shelf in in plain sight, and fell off when I put something else on that shelf. There they were, my favorite plastic. Good grief.

The moral of all this (if one exists) applies not just to flatpicks but also to banjo thumbpicks, and is in three parts:

(1) Don’t get attached to just one kind of plastic for your picks;

(2) Use lots of different kinds of picks, like Bill Monroe did, so that your fingers are used to variety and can adapt to other kinds of plastic; AND–

(3) When you put your picks in a safe place, Don’t put them in too safe a place. Put them in a place you can find again!

Everybody pick purty–

Red

Metronomes

Monday, February 15th, 2010
Murphy Henry

Murphy Henry

The question: I just purchased a metronome and trying to figure how fast Casey and you are playing “Nine Pound Hammer” on Easy Songs for Banjo. In recent jams I seem to speed up and slow down and do not hold a constant beat. I am hopeful that purchasing the metronome will assist. What are your thoughts? Feel free to use this on your blog.  -Drew

Hi Drew,

Thanks for the question. I hope I don’t put you off by saying I am not a fan of the metronome. I’m sure it has its usefulness somewhere—I know Lynn Morris used to use one to sharpen her picking skills to a fine point—but for banjo students, especially beginning ones, I don’t find them useful. I have never suggested that my students use a metronome. And if they tell me they are using one, I just try to pretend like I didn’t hear them!

The timing problems beginning banjo students have are usually related to timing in a way that the metronome cannot address (or fix). Their timing problems tend to be related more to not hearing a lick correctly or not being able to execute it properly or just flat out not understanding how the timing is supposed to sound. (Like that “D” lick in John Hardy, the one that has timing like “In The Mood.” Once you understand that timing in your head, once you can “hear” it in your head, you can play it. Until then, it’s just a series of notes. But the metronome cannot help with that.) Or their timing problems are the result of simply being a new student who doesn’t yet have the small-muscle motor skills to play smoothly or fast.

Sometimes, even with the help of the DVDs, a student will simply get the timing wrong. And easy example is the E minor lick in “Foggy Mountain Breakdown.” Some students have been known to play those eighth notes too fast initially. We can usually straighten that out quickly by me playing along with them and/or playing guitar. But if you’re doing it wrong and don’t know it, that will sure throw you off in a jam!

Without hearing you play, it’s hard to know what the speeding up and slowing down in jams is all about. My guess it’s more likely a result of nervousness, being a new jammer, and/or having rhythm players who are not too solid. And a metronome can’t help with that.

My guess is that you probably just need to play each song many, many, times over in a row (without stopping) until you can develop some solidity. And of course there’s nothing like jamming to help you learn to jam. Metronomes cannot help with jamming—that’s a whole different kettle of fish.

Again, I think metronomes are for fine-tuning your timing, something a professional player might want to do. I’ve heard that Ron Block uses a metronome a lot.

And, lest you think this is a case of me telling you one thing and doing another, I confess that I have never used a metronome for more than the few seconds I needed to find out that I didn’t like them. They simply would not stay in time with me!

Hope this helps!

Murphy (Do you think you could get a refund on that metronome??? )

Keep Your Eye on the Melody

Friday, February 12th, 2010
Casey Henry

Casey Henry

I’ve had a couple little students jams in the last month. After each jam I resolve to hold jams more often, but somehow I never do. This time, though, I really mean it. (Ha! How often has that been said?) Part of the problem is that at the moment I don’t have a group of students who are at the same level. I do, however, have two who are roughly compatible level-wise, and it only takes two people to have a jam, so I decided to go with it.

Ginny (the one who is now flatpicking the banjo) and Jean have enough material in common that we can jam for a good hour. Last night was an all-instrumental jam because my lingering cold prevents me from singing. We didn’t avoid the singing songs (Two Dollar Bill, Worried Man, Mountain Dew), we just played them as instrumentals.

I had a small revelation last night while I was watching them trade breaks back and forth. I’ve been thinking a lot about backup lately because I’m getting ready to film a new DVD teaching backup. Students are often impatient to learn backup because they find vamping boring. What I realized last night was that when someone else is taking a break, you shouldn’t be paying attention to your own vamping — that should just happen by rote (i.e. you should know the chords so well that you don’t have to think about them). You should be paying attention to, and watching, what the lead player is doing. The only reason students get bored vamping is that that’s all they’re thinking about. If you’re bored, then you’re not doing the right thing.

To use a sports metaphor (which I hardly ever do, but this one seems particularly appropriate): keep your eye on the ball. Keep your eye on the melody.

When I was in eighth grade, I played basketball for our middle school team. One particular game sticks in my memory. I played forward; I was never much of a ball handler. We were down at our end of the court, trying to score. One of my teammates had the ball and I was between her and the basket. She was dribbling, dribbling, then she shot. The moment the ball left her hand I turned and looked toward the basket, hoping for the rebound. Unfortunately, her shot was considerably short and instead of hitting the basket, it hit me in the head. Yes. Hit me in the head. Why? Because I took my eye off the ball.

If you’re playing lead, you’ve got the ball. If you are vamping, you should always be looking at the person with the lead, ready to take it at a second’s notice, or with no notice. When you hand off the lead, you need to follow it to its destination (the other player) and make sure it gets there. Once it’s there, what do you do? Keep watching! You don’t want it to come back and hit you in the head.

Winter Wonderland

Thursday, February 11th, 2010
Murphy Henry

Murphy Henry

I thought you might like to see a few pictures of what it’s like up here in what Red calls the “cold and snowy frozen north.”

We’ve basically been house-bound since last Friday, February 5. We did get out for a few hours yesterday, but today the brutal wind and drifting snow has once again kept us indoors.

Snow on the back deck.

Snow on the back deck.

But we’ve been lucky so far—KNOCK ON WOOD BIG TIME—in that we’ve not lost power. We did get a flicker about an hour ago, so I filled up the bathtub with water and laid out candles and matches, just in case.

All my lessons for today canceled so I’m not in a very musical mood. However, I did talk to a fellow on the phone the other day who gave me a great big grin. He was talking about how he didn’t like a lot of the new bluegrass, that he much preferred the old. And while I do like a “right smart” of the new stuff (Old Crowe Medicine Show, Robin and Linda Williams, the Dixie Bee-Liners, Laurie Lewis) I understood where he was coming from. Especially when he said, of the new music, “It don’t make no lump come in your throat.”

Snow sculpture?

Snow sculpture?

And that’s pretty much all I want from music. Which is why I also like George Jones and Conway Twitty.

Hope you’re staying warm!

Crazy snow art.

Crazy snow art.

Out of shape picking? Get in shape!

Wednesday, February 10th, 2010
Red Henry

Red Henry

You know, in many parts of the country, this time of year there’s not much going on musically– few festivals, few shows, maybe not even any picking parties to keep up your playing ability. In my case I’ve been distracted by flying a lot since November, and by late January I got pretty rusty on the mandolin. So what do you do?

I simply started playing some every day. Not a lot, because I didn’t have enough time and energy to spend an hour or two at it, but last week I started playing 15 to 30 minutes a day. And it sure helps! Just a short practice, every day, can get you back into shape without a lot of stress and strain trying to play for hours on end.

Now, I admit that the music comes back into my fingers easily partly because I’ve been playing for a long time. But even when I’d only played for a year or two and I was going to school, I found that when the schedule was really crowded, if I could play 15 or 20 minutes each day, it really helped.

You might not learn a lot of new material with short practice sessions, but you might be surprised at how you can preserve the skills you already have. Take it easy on yourself. Review the tunes from Beginning Banjo Vol.1 or Banjo for Misfits. So? What are you waiting for? Today’s 15 minutes starts now!

Red

Article on Marshall Wilborn

Tuesday, February 9th, 2010
Casey Henry

Casey Henry

I just found this article from Strings Magazine on our intrepid bass instructor Marshall Wilborn titled “Late Learner Wins Coveted Bluegrass Award.” It quotes the iconic “Ready, Marshall?” “Ready, Murphy!” exchange that takes place on our Beginning and Intermediate Bass DVDs. It’s not dated, but it appears to be from late last year.

Flying and Picking (6)

Friday, February 5th, 2010
Into the Wild Blue Yonder

Into the Wild Blue Yonder

Folks, a few days ago I mentioned that my flight instructor and I had gone on a cross-country flight to another airport here in the Shenandoah Valley. Well, yesterday we went on another longer cross-country, and a parallel really struck me between flying and playing music.

The first time, we flew to an airport near Harrisonburg, Va. I had my hands full trying to identify my checkpoints, keep my log of the time at each one, and dial in my radio navaids to confirm my navigation. We got there right on time and course, but I had my hands full just taking care of those “mechanical” things.

Then yesterday, we flew down to Charlottesville. I was able to do all those things, plus keep checking on the chart to make sure that we were in exactly the right place every minute, and looking ahead to what came next. This time the forecast winds were not as perfect as last time, so we might get a little off course, but this time I could detect it soon and correct for it. I was able to make everything go more smoothly. I think I kept us within a half-mile of our planned course the whole way, and when we were about 15 miles from the Charlottesville airport I spotted our destination runway straight ahead (and we were, almost eerily, nearly lined up with it again). Not only had we arrived on target and on time, but I’d been able to look ahead and think of the flight as a whole, instead of as a series of individual steps.

How does this connect with playing music? Well, you start out learning the notes to a tune, and you play them as well as you can. You eventually get to where you can play all the way through the tune without (hopefully) losing your place, or, at least, if you miss a lick you can recover and keep playing in time. This means that you have the “mechanical” part of the tune under control. But as you keep listening to the DVD over and over (for example, Cripple Creek on our Beginning Banjo Vol.1 or Earl Scruggs playing his original version on the Foggy Mountain Banjo CD), the more you hear. You may automatically pick up the subtle way Murphy and other players syncopate the notes to make the tune more listenable. You start hearing notes that are more accentuated than the others, which define (or at least imply) the melody. You start hearing the overall tune, which is more than just the notes.

You come back to the DVD lesson or Earl’s CD a few weeks or months later, and you can hear more than you did the first time. You start hearing more than the notes. In other words, you start hearing the tune as a piece of music. So keep listening to Murphy, keep listening to Earl, and keep picking!

Red

Tab vs By Ear

Thursday, February 4th, 2010
Murphy Henry

Murphy Henry

Some of you may be following the thread over on Banjo Hangout about learning by tab versus learning by ear. I sent in a post yesterday offering my two cents worth (guess which side I’m on!) and I thought I might expand on some of those ideas here — although I realize I’m preaching to the choir.

As I said on BHO, when I started teaching banjo, back about 1975, I was using tab! I quit because it didn’t work. My students weren’t learning to play, and frankly, I was having to listen to some really bad music. Students were playing stuff like “Lonesome Road Blues” from the Scruggs Book and leaving out whole portions of the tune without realizing it. It was painful. And it left me nowhere to go as a teacher—do you just keep throwing songs at a student when they can’t play the earlier and easier ones?

So, as I always say, it was in desperation that I talked my first song “Old Joe Clark” onto a cassette. And the student learned it better than she’d ever learned anything before. It sounded like a tune! Eureka! Soon I was talking “Old Joe” onto cassettes for everyone and doing all the other tunes that way as well. The improvement was dramatic. By ear work; tab didn’t. You think that would be “nuff said.”

But no. After a while I realized (a slow process) that even if you were learning by ear, there is a big difference in learning tunes and playing the banjo. My students could learn tunes all day long and play them well—no problem. But this alone did not make them banjo players. As my book And There You Have It chronicles, I realized students had to learn to hear chord changes and they had to play with other people. Thus the Misfits Jam emerged, where, finally “my people” really began to learn to play.

Could they have done this with tab? I don’t think so.

In addition to that, I offer my own experience: while I did use tab (from the Scruggs Book) to learn a few songs, I think my experience with “Sally Goodwin” set me back for years—I couldn’t “hear” the timing, and played it “wrong” (although not out of time) for a long time. I remember playing it in front of the Flint Hill Flash one time and he was completely bewildered as to how I made it come out “right” in the end. I couldn’t tell him because I didn’t know! (I guess the silver lining to my “Sally Goodwin” experience is that I can now make it easy for students to learn it “right” on our Advanced Earl DVD. You’re welcome!) Then there were many others that I COULDN’T learn from the tab including “Ballad of Jed Clampett” and “Blue Ridge Cabin Home.” Not to mention those that made such little sense I didn’t even try them: “Careless Love” and “Little Maggie” come to mind.

So you can see I didn’t just dream up this “by ear” Method. I started it because it works! And thanks to all of you who have used the Murphy Method and who are out there spreading the word!

Out and About on the Internet

Wednesday, February 3rd, 2010
Casey Henry

Casey Henry

We try to keep an eye on what’s going on internet-wise regarding the Murphy Method. At the moment there’s a lively thread over on the Banjo Hangout titled “Why are People so Hyped About The Murphy Method.” I know that some of you readers like to talk about your TMM experiences, so if you haven’t already, that’s a good place to do it.

Also, our dobro instructor Mark Panfil maintains a little blog over on his MySpace page with dobro-istic news and happenings, so check that out if you want to see what he’s up to.

You can never tell what will turn up on the internet. A couple days ago my Google Alert alerted me to a “Beginning Mandolin Video” for sale on Amazon. Two different sellers have it available, used. Also there are a “Texas Style Fiddle Backup for Guitar”, and the “Beginning Fiddle Video”. When people ask if we still have our old cassette series available we usually direct them to Ebay. But now I may send them to look on Amazon, too. (The videos, of course, you can still get new from us if you’re a VHS holdout.)