Archive for the ‘By Red’ Category

Banjo heads: Clear? White? Frosted? Smooth? Genuine imitation leather?

Friday, November 19th, 2010

Red Henry

We recently received a question from a student, asking about the head on his banjo. In this case, the banjo had had a clear head on it before he bought it, but has a white head on it now. He asked whether this affected the sound.

Well, there’s no one answer. Banjo heads are like bridges or strings: Some banjos (or banjo players) sound best with one kind, some with another. But there are a few guidelines which we can glean from experience:

1. Sometimes, the clear heads are thicker than the white ones. This means that they may have a fuller sound (or, to put it another way, they may not give as much clarity on some banjos). Some banjos like one kind of head best, some like another.

2. As I recall, the Stewart-MacDonald 5-Star heads may be a bit thinner than the Remo Weather-King heads. This means, again, that a banjo might give more fullness and volume with the thicker head, but might obtain more high end and clarity with the thinner one. Does this all sound confusing? That’s because it is. Every banjo is different!

3. Some banjos really like the heavier, textured, imitation-leather heads. Those heads go best on banjos that have plenty of volume and high end already, and have plenty of power to make the heavier heads sound good.

4. Some bluegrass pickers may want to experiment with real skin heads. A friend sent me a good-quality old skin head once, and I installed it on my pre-war Gibson banjo. I immediately saw why some older banjo players swear by skin heads! But I also understood why other players swear AT them. The good news is that putting a skin head on a a high-quality banjo may give you a more powerful sound, with more volume and dry tone, than any other kind of head. The bad news is that this is not true for all banjos, and even when it is, you probably need to adjust the head tension EVERY DAY to make sure the banjo will sound its best. There were good reasons why banjo players in the 1950s were really glad that plastic heads became available!

If you know as much about banjo heads now as you did before you read this, then you’re doing well. The bottom line is that you have to try different heads out on every banjo to see which kind it likes best. You can also go on the Banjo Hangout and find people who will talk about banjo heads until the cows come home. But don’t even think of changing the head until you have the strings, bridge, and head tension already adjusted to sound their best! — and that is all another chapter.

Red

WOW! — is all I can say!

Tuesday, November 16th, 2010

Red Henry

Response to yesterday’s Murphy Method e-mail Newsletter has been terrific. Lots of people have ordered Casey’s custom DVD, “Christmas Tunes on the Banjo”, which teaches many popular numbers. We’ve also had many orders for this month’s half-price DVD, “Great Banjo Tunes”. Thank you all!

We’ve also had a lot of interest in our very first Murphy Method Banjo Camp, scheduled for late March. We often get inquiries saying “Where can I attend a banjo camp?”, and now Murphy and Casey, two of the best banjo teachers anywhere, will be giving a camp right here in Winchester, Va. There are still some student slots remaining, so if interested, take a look at the details here.
. . . . .

On another subject entirely, last night I did an extensive interview with a researcher who may write a book about Randy Wood, the pioneer (and still currently-active) bluegrass instrument builder who began making superb mandolins, banjos, and guitars way back in the 1960s. Since I have Randy’s very first mandolin as well as #3 (a Bill Monroe mandolin, which Murphy bought from Bill’s estate sale in 2001 and gave me), I like Randy’s instruments a lot and was able to share many stories from 35 and 40 years ago, about Randy’s pioneer work in making great instruments for bluegrass pickers to play.

Everybody keep picking!

Just stringing along

Friday, November 12th, 2010

Red Henry

Yesterday I was stringing up a mandolin for Murphy’s student Zac, and got to thinking about how it’s a challenge, at first, for students to change strings on their instruments. Changing banjo and guitar strings is enough of a hassle, the first few times, and changing mandolin strings can be an amazing challenge. Fortunately, though, most students don’t need to change their strings very often.

But this leads into another question: “What kinds of strings are best?” –and this has many different answers. For banjos and especially for guitars and mandolins, there are a bewildering number of choices in strings: light gauge, medium gauge, or heavy gauge; nickel-wound; bright bronze; phospher bronze; “bluegrass” alloys; and the modern high-priced, long-lasting string sets. Which do you need?

If you like your old set of strings, I’d recommend sticking with the same kind when you change them. But if you’d like to try something new, there are a few general guidelines you can go by when choosing strings. Usually, medium-gauge strings provide more volume but are not quite as easy to play, but there are exceptions to that. And very old (pre-war) Gibson mandolins or Martin guitars may really need light-gauge strings, to avoid putting too much string-tension on a fragile instrument. In any case, on banjos, light-gauge strings often sound and play best.

On guitars and mandolins, phosphor-bronze strings may provide the most volume and bassy tone, but also may have the shortest life before they go dead. Nickel-wound strings may give less bass, but may last the longest. “Bright” bronze strings, my personal favorites, may be somewhere in the middle. The new “long-life” string brands seem related to bright bronze, and they do last a long time, but they sometimes seem stiff and difficult to play. And you’ll find instruments, and different string brands, and individual string-sets, which will surprise you on all these counts!

If you have the time and energy, try different kinds and brands of strings until you find the ones you like best. If you don’t want to be changing strings lots of times to find the right ones, ask around, especially among folks who have been playing a while, to see what kind of strings you might like. (Be aware that usually the answer will be the strings THEY like, not the ones YOU might like, but you can filter the answers and figure out what to try.) Good luck!

November at the Murphy Method

Tuesday, November 9th, 2010

Red Henry

Folks, this time of year we take some deep breaths and start getting ready for the busy days of December. This is the time when I order duplication supplies and mailers and boxes for shipping, because it sure is easier to order them now (and get them fast) than it would be to wait another three or four weeks! I’m staying busy right now, stocking up on our DVDs in anticipation of our busy time coming up. Also, this is a good time for special projects such as our new Murphy Method page on Facebook, which we set up a few days ago.

We’ve had a few folks express concern that the Facebook page would distract us from this blog. Believe me, that won’t happen. This blog is our primary way to communicate with all of you out there, and there’s a lot more info about us and our DVDs on this website than Facebook would ever have room for! So if you aren’t on Facebook, don’t worry about missing out on anything. You can read all the Murphy Method news right here on the blog.

Speaking of getting ready for the Christmas season, we’ll be running a sale for at least part of December (I’d tell you all about it now, but we haven’t decided what kind of sale to run yet!) — But don’t worry, everyone who has ever contacted us or received a Murphy Method email newsletter will receive a notice about the sale right away. Never received a newsletter from us? Just drop us a line through our contact page, at:

http://www.murphymethod.com/index.cfm?event=pages.contact

– and you’ll be automatically added to the list and will receive our emails once or twice a month.

Now I have some DVDs to pack up and send out, so I’ll sign off. See you again soon–

Red

New tunes, okay. How about your old tunes?

Tuesday, November 2nd, 2010

Red Henry

When you’re learning to play, or even after you’ve been playing for a long time, there’s a natural tendency to play your newest tunes. After all, they’re new and much more exciting than your OLD ones. But you can get bored if you only play the tunes you learned most recently, and your musical skills can suffer.

When you’re practicing, or even when you’re picking with other folks, remember to play your old tunes too. This does several good things. Among them: (1) You keep your fingers playing a wider variety of licks and melodies. (2) Your friends will enjoy the variety when you dig up a tune from the past. (3) You have the pleasure of re-discovering a great tune or song you’d almost forgotten.

But one of the best things about picking your old tunes, is that it keeps your brain working. If you play just half a dozen or so songs all the time, it’s easy to get into a musical rut and stay there for years. Instead, consciously go back and find tunes and songs you used to play. Keep learning new tunes too. Go through our Slow Jam DVDs and remember some songs you used to like. Your brain will like it, and your picking friends will thank you for it!

Red

The Good Old Thursday Night Jam

Friday, October 29th, 2010

Red Henry

I went over to the local jam last night. Why do I go to that jam? I’ve said it before in these pages: PRACTICE. But on some Thursdays the practice is easier than on others.

Now, when you get into real life jams, some of them aren’t as easy to play along with as (for example) on our Slow Jam or Picking Up the Pace DVDs. Sometimes, you have to work. And at first, I thought this would be one of THOSE THURSDAYS. We kicked off the jam a bit after 7:00, when five guitar players, two fiddlers, a banjo picker, and one mandopicker (me) had arrived and tuned up.

At first, it was heavy slogging. Few of the pickers besides myself wanted to take the lead in playing or singing songs, although Murphy’s banjo student Zac was an exception and played a creditable version of ‘Cripple Creek’. I sang a couple of songs, and it looked like it’d be a long night.

But at that point, help started arriving. Jam hosts (and excellent pickers) Linda and David brought in their bass and guitar, and joined the jam. Guitar picker and singer Gerald came in and added his talents to the mix. Fiddlers Wayne and Stormie arrived and got out their fiddles. Suddenly we really had a jam.

Right away, David and Linda wanted to sing ‘Your Selfish Heart’. That’s an old Stanley Brothers number that we get a good high trio on, and we always have fun singing it. Then Linda, who has one of the finest voices I’ve ever heard, sang ‘I’ll Go Stepping Too’. Things went on from there, and it was all very satisfactory.

With all that talent coming into the jam, we couldn’t miss. All the songs and tunes sounded good. It was fun.

Good practice, too.

Red

A Frank Wakefield Concert

Tuesday, October 26th, 2010

Red Henry

Devoted mandolin fans and pickers (such as myself) were treated to a rare spectacle last Saturday night at the Garret Park Town Hall in Maryland, where superlative picker-and-showman Frank Wakefield presented an outstanding show along with the Patuxent Partners. Chris and I drove over for the concert. Neither of us had seen Frank since he’d come by the house back when Casey was 9 and Chris was 6, so we had a good time talking, reminiscing, and picking with Frank before the show.

Now, you need to understand about Frank. He doesn’t always talk straight. He “talks backwards.” This means that he’ll call himself “him” and he’ll call people names he makes up (he called Casey “Liza,” and Chris was “Leroy.”). He’ll say “That’s BAD!” when he means, “That’s GOOD!” — and vice-versa. So you need to stay on your toes when talking (or listening) to him.

When it was time for his set, Frank sprang into action with the fiery chestnut ‘Bluegrass Breakdown’ and went on for an hour without a pause, incessantly picking amazingly, talking backwards, balking tackwards, and tacking balkwards for the entire evening in his inimitable style. There is no one who plays mandolin quite like Frank, and his originality and brilliance shone at every opportunity. Notable contributions came from his cast of extremely capable sideman, including Monroe-veteran Tom Ewing’s vocals on “When the Golden Leaves Begin to Fall” and Jack Leiderman’s high-speed fiddle break on ‘Rawhide’, which was note for note straight off Bill Monroe’s classic 1951 recording, as far as my ears could hear.

The climax of the evening came as Frankfield hosted and bravely participated in, a five-piece mandolin ensemble. We played (all at the same time) Frank’s well-known mandolin original ‘New Camptown Races’. Mandopickers Frank, Tom, Todd, “Leroy,” and “White” all acquitted themselves well, and a good time was had by all.

Red Henry picking with Frank Wakefield

Red Henry picking with Frank Wakefield

Frank Wakefield and Chris Henry

Frank Wakefield and Chris Henry

. . . . .

Other news: Our bass-playing friend Marshall Wilburn spent this last week helping Frank record a new CD. Look for it on the Patuxent label. It’s gonna be BAD!

Red

Playing and Judging at Music Contests

Friday, October 22nd, 2010

Red Henry

Some of you may have entered a music contest from time to time. A few of Murphy’s students enter contests as often as they can. If you live in a part of the world where there are contests, you might consider entering a few yourself.

There are several benefits from entering contests. The first reason (and maybe the biggest) lies in the preparation. This works into the “Quality” theme of Murphy’s post yesterday. Your tunes need to be thoroughly learned, as smooth and good-sounding as you can get them, so that you could play them without thinking about them– because at first, when you get on a contest stage to play, your mind may go blank and you’ve got to just PLAY. As well as you can. Without thinking. This simply takes a lot of practice, and practice is good for you!

At contests you get to play in front of different audiences, in different places and situations. You might be indoors in a poorly-lit school auditorium. You might be on stage in a big music hall with good lights and sound system. Or you might be playing on a flatbed trailer outdoors in 45-degree weather. If you can play your tunes well in ANY situation, its good for your music.

And why can you win some contests without being the best picker? It’s because of the judging. Some local contests simply do not have musical experts available as judges. So your job at those contests is not to play the most advanced tunes you can. Your job is to play a tune that sounds good, and to look like you know what you’re doing. If on stage you LOOK confident of being a winner, you’ll have a better chance of actually being one.

At a lot of contests, the best player does not win. The judges may pick their favorite based on looks, facial expression, posture, gender, age, or other un-musical considerations. On the other hand, there are contests where the judges are excellent musicians and very well qualified to judge, in great and accurate detail, how well the contestants can actually play.

But no matter how the judging goes, you accept it and roll with the flow. Playing contests is not about the judging, it’s its own reward. You endure the waiting and the drawing for playing-order, you go out in front of the people, and you play your tunes as well as you can. (The first one or two contests, your playing may not exactly be your best. But keep at it.) And when you’ve played some contests, your music is so much more solid than it was before. If you’re placed a few times, your confidence is too.

So if the judging seems weird, don’t take it seriously. At a contest, the judging is not the point. Winning prizes is not the point. Your music is.

Red

Professional? Amateur? or Both?

Tuesday, October 19th, 2010

Red Henry

I’m just back from Hiawassee, Georgia, where I was one of the judges at the Georgia State Fiddlers Convention. There were contests for fiddle, banjo, guitar, mandolin, Dobro, and other instruments, so we did probably 15 hours of judging over two days.

The judges, along with contest MC Barry Palmer and friends, played a set of music each day– after all, since we were judging the contest, we needed to show that we could play! Our Saturday set went real well (no surprise, since the five people on stage probably had 150 or 200 years of professional musical experience between them), and afterwards I was talking with Chuck Nation, another of the judges, about how much fun our set was. Chuck expresses himself very well, and he commented about playing in a band: “The difference between amateurs and professionals, is that amateurs are competing with each other, and professionals are helping each other.” Well said!

I’ve talked about it before on this blog, but Chuck’s comment really put it down plainly where we can understand it. If you’re playing in a group– on stage or off– are you listening? Are you trying every second to help the BAND (not just yourself) sound as good as possible? Are you playing so as to support the other musicians, not just to make yourself sound good? Your level of proficiency doesn’t matter, and plenty of people who can play well don’t play in a professional manner, in this respect!

You may be an amateur player, but you can play in a professional way. Think about it.

Red

Jamming: One Easy Time, and one Challenging Situation

Friday, October 8th, 2010

Red Henry

Last weekend I went over to Nashville for the International Bluegrass Music Association convention. During the day I helped Casey with our Murphy Method booth, but both nights I went over to my uncle John’s house to pick. John Hedgecoth is a banjo player with long-standing credentials including a stint in Bill Monroe’s band in the 1970s. He can also play ANYTHING on a banjo, from bluegrass ro jazz to classical, so it was good to pick with him. He invited a few other folks over, and we played a whole lot of tunes. We picked quite a few Bill Monroe numbers. We played lots of traditional tunes. We also played some entertaining numbers like ‘Sweet Sue,’ ‘Baby Elephant Walk,’ and “When I’m 64.” John played them all on banjo with aplomb. Nothing could be easier than picking with him, and it was all good.

Then last night, back here in Winchester, I went over to the weekly Thursday Night Jam. Playing music there was a different situation. About 15 local musicians were playing for an audience of about 50, inside a greenhouse. (It wasn’t any stranger than it sounds, but the acoustics were not the best.) There were about 7 guitar players, three mandolin players, two each playing banjo and fiddle, and (thank goodness) a string bass. So I got near the bass player and played firm rhythm on Randy Wood #3– a mandolin with unexcelled projection– and the rhythm was there. Not great rhythm, but adequate. The on-beat was there from the bass and the off-beat was there from the mandolin, and everybody hung together adequately. And everybody had a good time.

Congratulations to Murphy’s student Zac, who won the banjo contest at Burlington, WV last Sunday! Way to go! We had him play ‘Foggy Mountain Breakdown’ at the jam, and he did quite well with both the low break and the high break. Good picking–