Archive for July, 2010

“How often should I change my strings?”

Friday, July 30th, 2010

Red Henry

Well, how often should you change them? I hear this question pretty frequently. The answer is, that it’s up to you. How helpful is that?

Well, the reason is that everybody’s strings need changing at different times. Some reasons are because (1) there are so many kinds of strings and they age differently; (2) people all play differently and their strings wear out (or corrode) faster or slower as a result; and (3) in different parts of the country (or the world) strings are just going to need changing more often.

So, what do you look for in deciding whether to change them? One thing can be obvious: buildup of corrosion or gunk on the string. This really happens a lot in warm, humid climates. If the buildup can’t be removed with a little steel wool, then it’d definitely time to change strings! (When I was starting out, this happened on my mandolin strings every few days.)

Another sign is when the strings get hard to tune. Often it’s because they’re not sliding smoothly through the string-nut (that’s the little white thing with slots at the bottom of the peghead). If you put on new strings, and when you’re at it, put a little graphite — pencil-lead dust will do– in the bottoms of the little nut-slots, then the tuning should get a lot better.

Another sign of elderly strings might be that they don’t play in tune. If you’re pretty sure that your bridge is in the right place, but your banjo is still “noting out” more than usual up the neck, then new strings might be what you need.

One more sign of old strings may not be as obvious. If the instrument (banjo or otherwise) just doesn’t sound right, the strings may have gotten too old to sound good at all. When does this happen? Well, this is the most extreme case of old strings, since it may take several months or a year for the strings to get this old.

Some players take extreme steps to keep new strings on their instruments, especially if they break a lot of strings. Back when we were playing a lot of festivals, I used to change the strings on both mandolins and both guitars every morning before we played our first set. That was a lot of work, but it helped keep the string-breakage to a minimum. Others take a different approach. I’ve heard that Bill Monroe changed his mandolin strings once a year, at New Year’s, and from then on just changed them as they broke (which they did, pretty often).

Now, this all applies to the fretted instruments. Fiddle strings seem to fall into a different category. I’ve known fiddle players who changed their strings every few months, but as for myself, if the fiddle gets new strings every five years, that’s a lot. I suspect that the strings on my fiddle now have been on it for longer than that!

So the answer to the question is, that it’s up to you yourself to decide when to change strings. There are a lot of reasons for changing them (better tone, volume, and tuning), and there are plenty of reasons for just leaving them on there (less hassle with awkward work, and less risk of getting your banjo or mandolin bridge out of place in the string-changing process, among other things). But if you go in for a lesson and your teacher takes one look at your strings and turns as green as they are, then it’s time.

Yet Another You Tube Video

Monday, July 26th, 2010

Casey Henry

I filmed these tunes as part of a video oral history project on women who play traditional music, which is being made by a woman named Dyann Arthur. It’s called the Music Box Project. She is interviewing women all around the country. Although she’d talked to several clawhammer players, I was the first Scruggs-style player she had included. She has an interview scheduled with Murphy later on this summer. This is the title tune from my CD, “Real Women Drive Trucks.” I wish that I had been able to get my banjo into more perfect tune, but I had to drop it into D tuning that morning, and it really needs at least a day to acclimate before it starts sounding right.

Take it Easy (Flying and Picking #15)

Friday, July 23rd, 2010


Have you ever taken several days (or weeks) off from your music, and then tried to get back in practice? Every musician I know has done this. And as you have found out, sometimes it isn’t easy!

As many of you Gentle Readers know, I’ve been learning to fly and recently got my license. I’ve been flying regularly for several months, when the weather permitted. Flying takes practice, just like music. But I recently took several days off, and so now I’ll start getting back in practice– I have a short flight scheduled today to practice some landings, and then I’ll make a cross-country flight on Sunday to freshen up my ability to navigate to airports far from home. I didn’t want to take off on that cross-country flight “cold,” as you might call it. I wanted to get a shorter flight to warm up with first.

Music’s the same way. When you’ve taken several days off, don’t expect to dive in for several hours and get it back all at once. That can lead to a lot of frustration. Instead, “gentle” yourself into it by practicing a half-hour or hour each day for a while. You’ll find your playing ability coming back without having to strain. And when you’ve had a few of those short practices, your fingers and brain will be ready for longer sessions when you can really start soaking up music again. Don’t worry– the music will come back. Just take it easy.

The Words

Thursday, July 22nd, 2010

Casey Henry

Last week I posted a video of me playing “There’s A Little Cabin,” a lullaby that my Grandmother used to sing to us when we were small. Many of you asked about the words. Grandmother passed away last Friday and I played that arrangement at her funeral, which was really a beautiful service, held at the Clarkesville Baptist Church where she was a member. It still smelled exactly the same as when my brother and I used to attend with her when we stayed in Clarkesville when we were little. We sometimes went to vacation bible school there. I still remember playing Red Rover on the church lawn.

This tune was the last thing in the service, right before the closing hymn, “Now I Belong to Jesus.” I’m glad I didn’t have to try and sing it. As it was my nose was dripping while I was playing. At least no one seems to have noticed that.

So in remembrance of Grandmother, here are the words we so frequently heard after she packed us down in the bed, as we were drifting off to sleep in the nursery.

There’s A Little Cabin

Verse 1
There’s a little cabin where the honeysuckle twines,
Where the cotton grows, where the Suwanee flows.
If you chance to find it, you will find that girl of mine,
She’s my sweet Virginia rose.

Chorus
Carry me back to that old-fashioned shack,
There by the stream, just let me dream.
Virginia moonlight look down from above,
Guard the one I’m thinking of.

Verse 2
Someday I’ll be roaming in the gloaming once again,
With my blushing bride, nestling by my side.
Hope we reach a preacher man to tie the knot and then,
Guess that I’ll be satisfied.

Backtracking: Part 2

Thursday, July 15th, 2010

Murphy Henry

Now we come to Bob Mc’s adventures in backtracking. Bob came to me about four years ago with absolutely no musical background. We’ve often remarked to each other that he started “below zero.” But tenacity he has. In spades.

After four years, Bob has lots of tunes that he can play well: All of Beginning Banjo Vol. 1, Old Joe Clark, the high break to Foggy Mt. Breakdown, and Lonesome Road Blues from Vol. 2, all of Misfits, all the Improvising songs, plus Roll in My Sweet Baby’s Arms, I’ll Fly Away, and When the Roll is Called up Yonder. That’s a lot of songs.

Now, as I told him at his Tuesday lesson, if he were taking banjo lessons from just about anybody else, he would be a Star Student. Would get an A Plus. Why? Because he can actually play the tunes.

But Bob is having problems hearing the chord changes to the songs. And because of that he has trouble with vamping, trouble with coming in for his break in a jam, and trouble recovering when he makes mistakes in his own playing.

And since my goal is to turn out students who can jam, Bob and I have been actively seeking a solution for this difficulty for years. I can’t tell you how much work we have done on vamping. I’ve had him try to do it by ear, I’ve had him try to do it by counting, I’ve had him memorize chord patterns. Frankly I thought if we just played the songs enough, he would just “get it.” It would all fall into place. The light bulb would come on. There would be joy in Mudville.

Alas, no joy. Because there was big part of problem that I wasn’t understanding.

Over and over I’ve told him Bob that when he’s vamping he he should be hearing the tune in his own head. But it’s taken me until recently to realize that he can’t keep the tune in his head when he’s away from the music. That was a bit of a shocker to me. I have no idea how he’s done as well as he has without being able to keep some version of the tune in his mind.

Finally on Tuesday, grasping at straws, I asked him if he knew the song Skip to My Lou. Yes, he seemed to recall it from grade school. There now, I thought, is a simple tune that he surely will be able to keep in his head. So I sat there and played guitar and sang the chorus over and over while he vamped. He picked up the chords fairly quickly, although that last measure gave him a bit of a problem. I asked him to then tell me what the chord pattern was. He was able to do that. We talked about how the last chord had to be G, since we were playing in the key of G. He wanted to know if that were true for all keys. I said yes. That was a revelation to him. He’d never thought of that before. He was extremely happy to been given that piece of information. It was like he had found another piece to this endless puzzle he is trying to put together.

I told him to sing the song, hum the song, think about the song all the way home. And to try to remember it in his head every day this week. And to try to vamp to the song he heard in his head. And, if he couldn’t recall it, to get out the Learning to Hear Chord Changes DVD and listen to it to refresh his memory. And if he dreams about it, so much the better!

I think we may be on to something. I can only hope so. I’ve got big plans for Bob and Skip to My Lou. I figure that we can start simple and then build up a repertoire of songs he can hear in his head. It may not be easy, but I do think it will work. There will be joy in Mudville!

P.S. I welcome suggestions from any of you who have dealt with this problem in your own playing.

Women on the IBMA Ballot

Wednesday, July 14th, 2010

Casey Henry


Last year
, Murphy listed the women who made it onto the second IBMA awards ballot in the instrumental performers category. There were eighteen, in contrast to a decade ago, when there were only five. Since I just filled out this year’s ballot (and since she’s busy working on her book and probably hasn’t even looked at her ballot yet), let’s take a look at who made the cut this year.

For Banjo Player of the Year

Kristin Scott Benson
Alison Brown
Cia Cherryholmes

For Bass Player of the Year

Missy Raines
Christy Reid

For Fiddle Player of the Year

Becky Buller
Molly Cherryholmes
Shelby Gold
Alison Krauss

(Same four people as last year, interestingly enough)

For Mandolin Player of the Year

Brooke Aldridge
Analise Gold
Sierra Hull

Twelve people, which pretty much splits the difference between last year and a decade ago. You’ll notice that no guitar players or dobro players made it at all. New entries this year are Brooke Aldridge, who plays with her husband Darin, and Christy Reid, who plays with her husband Lou in his band, Lou Reid and Carolina. Congratulation to these gals, who are getting out, playing in front of people, and really making an impression.

And since we’re talking about instrumental performers, here are the bands that include women who made it into the Instrumental Group of the Year category: Darin and Brooke Aldridge, Cherryholmes, the Grascals, Lorraine Johnson and Carolina Road, the Claire Lynch Band, and Rhonda Vincent and the Rage. Not a bad turn out!

The group I play with, The Dixie Bee-Liners, actually made it onto the ballot in a couple of categories: Vocal Group of the Year, and Emerging Artist of the Year. Go us!

Beerfest and Bluegrass

Monday, July 12th, 2010

Casey Henry

The Dixie Bee-Liners had quite the trip last weekend. We flew out to a resort near Lake Tahoe to play at an event called Beerfest and Bluegrass. Flew out on Friday, played one set on Saturday, flew home on Sunday. It would have been cool to be able to go see the lake, perhaps, or maybe even Susanville, Calif., (the town our new CD is named after), which was only about an hour away, but the schedule was so tight all we had time to see was the road in between the airport and the gig.

Of the three bands, we were the headliners so we played last—from 6:00-7:30—staring straight into the setting sun the entire time. It must have been painful to watch me squint (my sunglasses were safely at home in Nashville) because one guy (the banjo player from Mud Thump, who opened the show) offered me his straw hat. I declined the nice offer because it would have caused my hair to become sweatily plastered to my head. Then the bass player from the same band offered his sunglasses (visible in this picture on their homepage). Those I accepted and they made my life much more comfortable.

The crowd had been sampling the wares of the thirty or so participating breweries for four hours by the time we hit the stage, so there was much raucous dancing. The stage faced an outdoor ice skating rink (not filled with ice at this time of year, obviously), which made a great dance floor. They gave us two genuine encores and we ended up playing nearly two hours straight.

Northstar Restort treated us really well, putting us up in our own condos and shuttling us back and forth from the airport. They even rented an instrument for our bass player Sav to use so we wouldn’t have to worry about flying with one.

The flight home held one more little adventure. The Southwest fight attendants couldn’t help but notice we were a band as we all came tromping on board with our instruments. One of them asked if we’d play a tune on the plane! I declined, but Brandi, Buddy, and Rachel were up for it. They gathered in the rear galley of the plane and played, “Airmail Special on the Fly” (what else?!). I could barely hear them from where I was sitting, but I got this picture. When they were done the attandant came over the intercom and said, “That was the Dixie Bee-Liners. You can get their new CD Susanville in baggage claim!” That got a laugh.

Buddy and Brandi (barely visible behind the flight attendant, who is holding the intercom mic in front of them).

And, in case you were wondering, my favorites out of the beers I sampled were the ones from Eel River Brewery in Fortuna, Calif. They make organic beer and I tasted their IPA and their Blonde Ale. Two thumbs up!

Unfamiliar situations: Flying and Picking #14

Friday, July 9th, 2010

Did you ever try to play music in a place that wasn’t familiar, and found yourself so distracted by the room, or the people, or the lighting, or the phase of the moon, that you had trouble playing? Or did you learn to play music while sitting down all the time, and then try to play while standing up? It might have been uncomfortable at first. You were in an unfamiliar situation.

I was reminded of this two nights ago, when I flew my very first night solo (well, my first since 1971). I’d flown several times at night recently with my instructor, but hadn’t tried it alone. So I took off about sunset and just practiced landings over and over, and kept at it as it got really dark.

Now, I’ve made about 400 daytime landings or so in the last 7 months. So I’m pretty familiar with them now. But now I was flying at night, and the situation was different. I really had to concentrate to find some of the same visual clues I’m used to in the daytime, and I had to adopt some new ones. But it worked. The results? 11 pretty good landings, including the last 3 in the pitch dark. But it did take concentration and practice in the new, dark situation (making those landings over and over). It was a gradual thing, but finally I was pretty comfortable with it. I really had to concentrate, but it just took some practice.

You can make the same kind of adjustment when you’re playing music in an unfamiliar situation. If you’re put off your stride (or even freaked out) by standing up to play, or playing in a new place, or playing in front of people, or playing in a group you’re not used to, then don’t concentrate on the unfamiliar stuff. Simplify what you’re doing and concentrate on yourself and the notes you’re playing. Keep your eyes on your instrument and play tunes you can play in your sleep, or your favorite basic backup licks, or just vamp until you have your hands and mind under control again. Let your brain assimilate the new variables a little at a time, and eventually you’ll get used to the new situation. Play your same familiar tunes and licks over and over standing up, for example, and you’ll get to where you can stand up in a group and handle not only your oldest material but new things as well. Practice at different places in your house, or your yard. Play when one or two family or friends are around– not suddenly for a crowd, but gradually. Even if you’re freaked out at first, it just takes some practice!

Red

Backtracking

Thursday, July 8th, 2010

Murphy Henry

Today comes the tale of two students who are going the extra mile with their playing. No, they are not playing faster, practicing longer, or moving rapidly through new tunes. As the title of the blog clearly states, they are backtracking. And what do I mean by this? They are putting in the time to fix some things about their playing that, as we say here in the Valley, “need fixed.” Things that I’ve turned a more-or-less-but-not-quite blind eye to in the past. Partly I thought these things would fix themselves (it does happen) and partly I thought the things we were working on were more important.

One of the things Judy is working on is trying not to watch her right hand when she is picking. (She’s been taking about 15 months now.) This is one of the things that usually fades away on its own as students feel more comfortable with playing. After all, there is no need to watch your right hand. The strings don’t move and the spacing stays the same. The thumb always picks the fifth and the middle always picks the first. After a few months, your hand actually does know where it is going. Muscle memory and all. But it can be a hard habit to break. [Note to Total Beginners: It’s OKAY to watch your right hand when you’re starting out. In fact, it’s essential. You’ve got to become accustomed to the spacing before you can look away. Don’t be putting the cart before the horse!]

Judy can play “Banjo in the Hollow” without looking at her right hand (I do encourage her to look at her left hand), but the others…well…..not so much. So we’ve decided to take it one tune at a time, backing off on speed and playing really slowly until she can focus instead on her left hand. (I look at my left hand all the time.)

The other thing she is working on is the C lick in “I Saw The Light.” (I wouldn’t let my dear Savior…) She calls it the “pretzel” lick. It never has been quite a clean as she or I would like, but again, I thought it would clear up in time. After all, her Cumberland Gap up-the-neck G chord fixed itself eventually. So we are, again, s-l-o-w-i-n-g the lick down and basically re-learning it. Cleanly and clearly this time. I told her just to work on it two notes at time if necessary. Then add two more notes. Then play those four notes. And so on down the line.

This actually echoes an article in this month’s Banjo Newsletter with the Brobdinagian title “Lessons in Neuroplasticity.” I probably would have skipped it but my eye landed on the phrase “The Sad Tale of Hasty Hank” which was much more interesting to me. (I am so Reader’s Digest! And saying that so dates me!) Anyhow, short version, Hank never slows anything down to practice problems in his playing, while “Prodigious and Patient Pete” (that Good Boy!) “decides he must get those two measures right, whatever it takes.” And “each time he does so, he plays them slow enough to play them mistake free.” The point is, he is retraining his brain. And the article provides scientific evidence—with monkeys, even—to back it up. (They were not, however, playing banjo!)

So I showed the article to Judy. Hey, if it’s in print, written by an M.D., it has to be true, right? Mainly, I agreed with it, with or without monkey evidence.

So now I’m out of space to tell you about Bob. Lucky you, Bob. Don’t worry. I’ll spill the beans next week. Keep practicing “Old Joe Clark.” Stay tuned, folks.

New Site Countdown

Wednesday, July 7th, 2010

Casey Henry

At 10:00 a.m. Eastern Daylight Time, on July 7th, 2010 — we launchd our completely new and totally redesigned website!!! Check it out here!

This redesign has been a long time coming. We had originally hoped to get it done before Christmas last year (HA!!), but finally, finally it is here. And we’ve added some spiffy new features.

  • Video clips of each DVD are now right there on the same page where you can order the product. We also updated all of the product descriptions.
  • We have a discussion board!! It’s the perfect place to go to get in touch with other TMM students, to talk about the songs, the DVDs, and (hopefully) find some of our other students to jam with. You can get to it via the “Forum” link on the top menu bar.
  • We’ve updated our instructor bios, we have a new FAQ page, we have a complete Arrandem Records discography, and a new customer comments page.
  • Also, we’ve added the custom lessons to the site, and there is a completely updated list of all the ones currently available.
  • Plus, everything that was on the old site is still there, only it looks MUCH better now!!

Please take some time to poke around the new site, stop by the forum and introduce yourself, and let us know what you think!