Archive for June, 2010

From the Archives: Bits and Pieces

Wednesday, June 30th, 2010

murphybook_smallThis is one in our continuing occasional series of excerpts from Murphy’s Banjo Newsletter articles. This is from the August 1990 issue, and appears on page 169 of Murphy’s book …And There You Have It! I think this is one of the funniest incidents she recounted about me. I remember doing this. The keys didn’t even taste bad at all!

My daughter Casey, age twelve, has been taking Suzuki piano lessons for two years. The Suzuki Method emphasizes ear training, which I love. So, I’m in the kitchen (a rare occurrence, I assure you) listening to Casey practice piano, and I hear her picking out the notes to Yankee Doodle. I can tell that she’d doing it by ear because it is a little hesitant, a two-steps-forward-one-step-backward kind of affair. But, eventually, she gets it and plays it all the way through.

“That’s great, Casey!” I call to her. “How did you do that?” (I suppose my question was meant to solicit a response such as “I did it all by myself” or “I did it by ear” or “I wasn’t using the book, Mommy” or even “I don’t know, I just did it.”)

Her response? “I did it with my tongue!” She was playing the piano with her tongue. My response” “C-A-S-E-Y!!!”

A Meeting of Mandolins

Tuesday, June 29th, 2010

Red Henry

Red Henry


Folks, I just ran across a photo and wanted to share it with you. A few years ago, a member of the “Co-Mando” mandolin email list held a gathering at his house in Maryland, a couple of hours’ drive from here. Our friend David McLaughlin rode over to the gathering with me, and we joined nine or ten other mandolin players for an afternoon of visiting and picking.

At one point, we lined up our mandolins on a soft couch so that everyone there could try all of them out (it’s called a “mandolin tasting”, and someone took a photo. Here it is:
Mandos104

Seen here at the party are 11 mandolins, my mandola, and my home-made mandocello conversion. Among the mandolins are the two I brought (Randy Wood #1 and #3), as well as the one David brought (a 1923 F-5). Others seen in the photo include two Rigel mandolins, one late-1950s Gibson, and a few other makes. The other pickers were especially excited to have the chance to play that 1923 F-5, after David generously put it on the couch for “tasting.” They were also amused to play Randy Wood #3, the one formerly owned by Bill Monroe, and get themselves a few molecules of Bill as they played. (My four instruments in the picture are distinguished by their light-colored maple bridges.) See if you can pick out David’s Loar in the photo!

As you can guess, a good time was had by all. And we’ve got the pictures to prove it!

Red

Back to the Grind

Monday, June 28th, 2010
Casey Henry

Casey Henry

After a mere day and a half to recover from Kaufman Kamp, it’s back to work at the dentist’s office for me. (I only work there one day a week, yet often that feels like too much.) I enjoyed a wonderful dinner last night at Kelley and Ned Luberecki’s house, in the company of Sally, Chris, and Joanna Jones, and Jon Weisberger. We enjoyed their new screened-in patio and their box of farm food from the Community Supported Agriculture farm that they’re a member of.

I realize that this post has absolutely nothing to do with banjo playing, so I offer this: over on Banjo Hangout there is a thread going that mentions our new Beyond Vamping DVD, if you would like to add any comments: http://www.banjohangout.org/topic/181472

Earned the License! (Flying and Picking #12)

Friday, June 25th, 2010

Red Henry

Red Henry

Folks, I’m going to break away from those excellent postings from Kaufman Kamp to tell you about something else good that happened this week. As many of you know I’ve been learning to fly, and on Wednesday I got my license! It’s been a huge 7-month-long project, studying and flying all I could, but it finally happened. I took the flying examination (called a “check ride”), and passed with– yes, I’ll say it– flying colors.

This flight exam was in the same old rusty Cessna 172 you see in that photo above, registration number N51056. I’ve flown about 121 hours so far, mostly in that same airplane, and the plane and I have come to know each other pretty well. Now I’ll start flying a couple of times a week just for fun, in this airplane and others, and enjoy the flights even more, because now there’s no pressure about making the grade. Although I expect to keep learning forever, now I’m an independent pilot.

And what (to ask it again), does this have to do with playing music? A lot. The more I fly, the more connection I see with music. You’ll have some goals when you learn to play, such as playing your first tune all the way through without stopping or losing your place; being able to play your tunes while your teacher plays rhythm for you on a guitar; someday being able to play along with the group in a jam session, and maybe even performing at parties, small concerts, at church, or for folks at nursing homes. But along the way, you really hit a landmark when you can play your tunes standing up, at a reasonable speed, in a jam session. That’s what Murphy sometimes calls “becoming an independent banjo player” (or mandolin player, or fiddle, or guitar, or whatever). Although you still have lots you can learn, you might say that that’s when you’ve earned your license. And it’s good.

Red

Kaufman Kamp

Thursday, June 24th, 2010

Murphy in PajamasGreetings from Kaufman Kamp! I am sitting here in the kitchen of the suite Casey and I are sharing at Maryville College watching Casey pour her morning orange juice. And as you can see, I’m still in my pajamas!

Today will be the fourth teaching day at camp and I am happy to report that all my classes have gone swimmingly. (Does anybody say “swimmingly” anymore? For all you Y genners that means “great.”) At Kauf Kamp each teacher sees all the levels of students, not just one section. So I will see the Beginners, Intermediates (two sections), and Advanced students twice each for two, two-hour-long teaching periods.

You can get a lot done in two hours so the Beginners (whom I have seen twice already) have learned the low and high breaks to “Boil Them Cabbage Down” (from the Misfits DVD) and have learned to vamp to it and come in and out of their breaks and add an ending lick. We performed for Casey’s Banjo and Mandolin 101 class yesterday (folks who have never played banjo or mandolin before but want to learn) and my folks did, well, swimmingly! I was so proud of them! And Casey’s students played for us, too, picking out a fine version of “Skip to My Lou” (from the Beginning Mandolin DVD).

I’ve been taking both Intermediate classes through “Blue Ridge Cabin Home”, first a high break (from Easy Songs) and then a, more or less, improvised break (from, duh, Improvising!). Of course, my view of improvising—which is to play licks against chords with no melody at first—goes counter to everything the other teachers at the camp are telling them, but so it goes and what else is new. I think and hope they all left the class realizing that they, too, can improvise. As I said to them as they were leaving class, “This isn’t brain surgery.” To which one guy promptly replied, “It’s harder!” Good one!

The Advanced Class is being treated to a massive dose of “how Earl done it” beginning with “Bluegrass Breakdown” (from the Rawhide DVD). I had told them in the material in my section of the Kamp Book to “leave your melodic licks at home” but apparently some of them hadn’t read the fine print. They were gently told to “play that break again and leave out the melodic crap and put in something Earl would play.” Today we will look at Rudy Lyle’s fantastic break to Rawhide (from the DVD of the same name). The tune is done is the key of C and we will examine it both capoed (at the 5th fret) and uncapoed a la Craig Smith and Casey Henry. (I recorded it capoed myself being somewhat unadventurous at the time and more concerned with “how Rudy done it.”)

And in just an hour or so I will be explaining the mysteries of Learning To Hear Chord Changes (from the DVD of the same name) to a room full of students who possibly think I have a magic formula to dispense. Alas, no! I will be showing them that it’s just guess work at the beginning, trial and error, hunt and peck. But I will be assuring them that it will get easier.

So I will close now and go fix my oatmeal and read some in my current book, Beyond Belief: The Secret Gospel of Thomas by Elaine Pagels. As the Cowardly Lion said, “Fascinatin’” And to all you students who couldn’t be here—especially Zac, Susan, and Luke—we miss you! Maybe next year!

Kaufman Kamp Week 2 Photos

Wednesday, June 23rd, 2010
Casey Henry

Casey Henry

We’re in the middle of Week 2 here at Kaufman Kamp and I’m really feeling why they call it “hump day.” Three more days of instruction to go and all of us here are just about at the point where our brains fill up and you can’t stuff any more new information in! So, once again, instead of words, I’m posting pictures. These are the Week 2 group shots.

2010KampWeek2Instructors

Front Row – Andrew Collins, Gary Davis, Kathy Chiavola, Ned Luberecki, Joanna Jones, Casey Henry

Second Row – Sharon Gilchrist, Keith Yoder, Alan Munde, Murphy Henry, Roland White

Third Row – Radim Zenkl, Tyler Grant, Sally Jones, Chris Jones, Pat Flynn, Tim May

Fourth Row – Mitch Corbin, Carlo Aonzo, Emory Lester, Mark Cosgrove

Back Row – Steve Kaufman, Kathy Barwick, Dick Daniels, Tommy Jordan, Beppe Gambetta

2010KampWeek2Campers

And these are all the campers. I think there are nearly 500 of them.

Picking with Dale Crider at White Springs

Tuesday, June 22nd, 2010

Red Henry

Red Henry

Folks, I just thought you’d like to see this photo of Red & Chris and Their All-Star Band performing with Dale Crider at the Florida Folk Festival a couple of weekends ago:
DSC02475

(Pickers: Jenny Leigh, Chris Henry, Barb Johnson, Dale Crider, Red Henry, John Hedgedcoth.) As you can see, we have a good time playing music with Dale. That’s because he’s such a great performer with plenty of charisma on stage, and his shows are always unpredictable. Dale’s an entertaining MC, and he’s liable to bring out lots of his original songs, and he may put a song in a different arrangement or in a different key from the last time we played it. He may even change into a new key, or change the tempo from 3/4 to 4/4 in the middle of a song, so we have to be on our toes. So enjoy this action shot!

Red

Kaufman Kamp Week 1 Photo

Monday, June 21st, 2010

Because our posts tend to be very text heavy, I decided to give you a break and just post a picture today. This is the instructor photo from last week’s camp session. (Click to enlarge.)

2010KampWeek1Instructors

Front Row Left to Right: Jeff Jenkins, Keith Yoder, Casey Henry, Joe Collins, Mary Flower

Second Row: Adam Masters, Jim Panky, Barbara Lamb, Russ Barenberg, Robert Shafer

Back Row: Steve Kaufman, Ivan Rosenberg, Pat Kirtley, Stephen Bennett, Richard Smith

Not Shown: Marcy Marxer, Rusty Holloway, Clint Mullican, Johnny Bellar and Adam Granger

A Couple of Reviews

Sunday, June 20th, 2010

I was browsing around the Bluegrass Unlimited site today and ran across a couple of reviews they did of our DVDs. (BU is the premier bluegrass magazine. If you don’t subscribe already, you should.) I’ll post the links as well as the complete text, just in case the link stops working at some point in the future.

141Easy Songs for Banjo
The Murphy Method is the common sense method of learning, used by many folks who don’t want to be hindered by learning too much music theory, but want to be able to play an instrument. In days gone by, young people watched their elders play and imitated them, often when no one was around. In this case, we are looking at banjo. Casey Henry is an accomplished banjo player and, as it turns out, a very good teacher. There is no tablature used here. Learning is by example and, so, we are patiently shown how each tune is played at speed and then painstakingly slowed down, lick by lick.

Murphy Henry, whom the method is named after, supports her daughter on guitar and vocals, so both leads and backup playing can be demonstrated. The lessons are well-organized and well thoughtout, providing clear shots of both hands and an empirical example of how the banjo interacts with the guitar and vocals. This meshing of banjo and guitar lines is at the heart of traditional bluegrass music.

The focus is on five songs, all of them standards: “Old Home Place,” “NinePound Hammer,” “Salty Dog,” “Amazing Grace,” and “Ballad Of Jed Clampett.” Not only will you learn to play clean, concise versions of these tunes, you will be given patient examples that you can return to, until you get each lick. There is an assumption made that the viewer can already play the basic rolls, knows most of the basic licks, and can string them together. There is a chapter, “CGD Songs” that will help with all of this.

If you want to learn to play banjo, but tablature makes you break out in cold sweats, this DVD will open a lot of doors for you, especially, if you don’t want to get bogged down in that labyrinth called music theory. The Henrys will teach you what you need to know without burying you in gobbledygook. RCB (Nov. 2009) (View original. The review is at the bottom of the page.)

15Rawhide and Other Banjo Favorites

You can’t beat experience, especially when it comes to teaching. Murphy Henry is everything I like in a teacher: knowledgeable, thorough, patient, but most of all experienced. She’s confronted just about every problem and question a student might have, and she puts that experience to use in this addition to her extensive DVD banjo instruction series.

The Blistering Banjo Favorites that Murphy teaches on this two-hour DVD are “Rawhide,” “Bluegrass Breakdown,” “Theme Time,” and “Hazel Creek.” All are accessible from several levels of easily navigable menus.

Much has been made of the fact that Murphy doesn’t use tablature, preferring to teach by sight and ear. Proponents and opponents of this method can sometimes overstate their cases. What’s important is the end product and many people have learned banjo (and learned it well) by using The Murphy Method. The benefit of not using tablature is that the lesson goes straight into the cerebellum and you don’t have to wean yourself away from the written page. Frankly, the only downside I see is that you can’t quickly refer to measures on a page and might have to watch the DVD to isolate a particular passage. In the age of instant digital access, this is not a problem.

Murphy is one of the cleanest, most straightforward players around. She teaches more than notes and chords here; she teaches tone, timing, and touch.

Each lesson is divided into an uptempo version of the song, a slowed-down version, followed by a patient teaching of each measure through the song, and then a version played with guitar so the student can get used to following a rhythm instrument. This is an often overlooked aspect of banjo playing that Murphy rightly emphasizes. Recommended for anyone in need of adding some high-octane barnburners to their banjo repertoire. CVS (June 2010) (View original. Review is at the bottom of the page.)

Mark Panfil Dobro Lesson

Saturday, June 19th, 2010

I just found this while I was searching around on YouTube. Mark Panfil is our is the instructor on our Beginning Dobro DVD. He posted this lesson on YouTube back in January for one of our signature Murphy Method songs: “Banjo in the Hollow.” As you know it’s the first tune we teach on the Beginning Banjo DVD, but it’s not on the Dobro DVD. It’s also on the Slow Jam DVD, so Mark has considerately made a Dobro lesson for it so that any Dobroists who have that Slow Jam disc can learn it and play along with it.