Archive for the ‘Practice’ Category

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“Be Prepared.”

Tuesday, March 2nd, 2010

Red Henry

Red Henry


Have you ever been in a jam session, and were taken by surprise by something? Maybe the other pickers asked you to play or sing a song. Or perhaps while the group was playing, you suddenly had the tune passed to you–and you didn’t know what to play!

If you’re new to playing in jams, things like that can take you by surprise. If it’s all you can do to watch a guitar player to find out the chords, figure out where they are on the banjo, and then vamp or play some simple backup, it’s hard to do anything else at the same time–such as think about a break to play before it’s your turn. But you can have a plan of action.

Think ahead, and know ahead of time what you’re going to do. If the chords to the tune are pretty familiar and you can use some of your familiar Scruggs licks to build a break, start planning for that as soon as you have the chords figured out. If, on the other hand, you don’t know the tune and don’t want to make a leap into nowhere with your banjo break, just tell yourself ahead of time that if the tune gets passed to you, you’ll just nod to the next person and pass the break off before it’s time to start playing. Whichever you do, the tune will go on smoothly, and you’ll be more confident and better prepared for the next time.

“Be Prepared.”

Red

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Posted in By Red, Improvising, Practice | 1 Comment »

Extending your Learning-Limit

Friday, February 26th, 2010

Red Henry

Red Henry


Many of you will recall that in addition to our musical activities, I’m learning to fly. I had a great flight last Wednesday. Snowstorms and high winds had prohibited flying for almost three weeks, so I needed some practice, especially landing the plane. So I took off solo and made 3 landings at the airport here at Winchester, then flew up to Martinsburg, WV and made 10 landings on the big runway there, then came back to Winchester and finished up with 3 more: total, 16 landings in a little over 3 hours.

How did it go? Well, at first the airplane seemed pretty unfamiliar (it had been 3 weeks!) and it took the first one or two landings for me to doing them again. Then, the first several landings at Martinsburg were the best ones I made. When I came back to Winchester I was beginning to get a bit tired, and the last couple of landings could have been improved on. But it took those 3 hours for me to reach that point, and I remember when a 1-hour flight exhausted me, not so long ago. Things are improving fast.

And what does this have with learning to play music? A lot. When you’re learning to play, the instrument may seem pretty unfamiliar in your hands. It can take a while to get warmed up, and then you can get “max’d out” if you play for too long a time without rest. Your ability to learn and to play (and especially your endurance in playing) improves gradually as you go along. At first it might wear your hands and brain out to play for 30 minutes, but after a while you can play for an hour or two without feeling strained. Later, you might get with some other pickers and go all afternoon or evening, and not feel nearly as worn out as you did after a half-hour at first.

Practice, that’s the key. What you’re learning gets better, and easier, as you go along. Practice might not make perfect, but it sure helps!

Red

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Posted in By Red, Learning By Ear, Practice, jamming, lessons | 2 Comments »

Picking with Others is the Easiest Practice

Tuesday, February 23rd, 2010

Red Henry

Red Henry


Folks, we’ve discussed practice several times on this blog lately. Some of my own entries have had to do with how to keep up with your practice when you don’t have much spare time available. But there are other aspects of practice to talk about, including “What’s the easiest way to practice?” and “What kind of practice is best?”

In my own case, I discovered in 1967 (about a week after I started playing) that for me, picking with others was the easiest and best way to practice. It’s that way for others, too. When you are playing with other people, (1) you don’t have to provide all the musical energy– energy circulates around the group (even if it’s only two or three people) and comes back to help you; (2) practice time passes so much more quickly that three or four hours playing music with others make seem shorter than one hour at home; and (3) it’s a lot more fun. And you sure learn a lot, painlessly. This is why Murphy says over and over at the end of our videos, “Find some people to pick with!”

Now, I know that in some parts of the country (and the world) there are few other players of bluegrass, country, folk, gospel, or other similar material whom you can get with. For example, I spent a year at an Air Force base in Del Rio, Texas, and didn’t find any other musicians that year. Nowadays, of course, things are a lot better: we have our Murphy Method Slow Jam and Picking Up the Pace DVDs, and you can have a jam session any time right in your house!

So as I said, when you’re picking with others, you not only have a better time than in solo practice, but you learn faster. You also begin improvising, and backing up other players, in a live setting where people are having a good time. Playing in almost any kind of group is not only the easiest kind of practice– but the best.

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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??? )

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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

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Flying and Picking (5)

Tuesday, February 2nd, 2010
Red, Jan. 13th

Red Henry, Jan. 13th

Folks, a few days ago I had a great first cross-country flight with my flying instructor. After carefully plotting our course, winds, and checkpoints, we flew down the Shenandoah Valley to an airport 63 miles away, and came out right on target. I mean, we weren’t a hundred yards off course when we got there. In fact, we were exactly lined up with the airport’s runway.

Now, how do you make things come out exactly right on a flight like that? First you do your homework, getting all your preparation as right as you can get it. Then when you get into the airplane and take off, you get in a rhythm. You constantly check your altitude, airspeed, and heading, to make sure you’re going exactly right. At and between your checkpoints, which are about 10 miles apart, you check your course on a chart to make sure you know exactly where you are. You get into a rhythm. After each checkpoint, you start getting ready for the next one. This combination of preparation, thinking ahead, and staying in rhythm makes your flight end precisely, and safely too.

So how can you apply this to playing music? In plenty of ways. Now, we practice at home and learn new tunes not only for our own amusement, but mainly (at least in my case) to get with a group of other musicians and either pick or perform. This means, that when you’re at home, you need to do your homework. Practice your tunes, and stay in time. As Murphy says, don’t play any parts of the tunes any faster than you can play the hardest parts. (Our two “Slow Jam” DVDs are perfect for developing this skill.) You need to have your arrangements down, so that you can play them in good time without having to think about every note.

Then when you’re in a group, you can not only play the tune, but also pay attention to the other musicians while you’re playing — listen to the rhythm, and stick with it. If there’s a particularly hard part in the tune, you have to stay in rhythm while you play it. As you play each phrase (your checkpoints) listen to make sure you’re still with the others. And then, when you’ve navigated your way through your break so that you reach the end (your destination) right together with the other players, be thinking ahead to either hand the tune off or end it, and at the end, it’s a great musical experience for everybody.

Flying and picking– I love it.

Red

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Flying and Picking (3)

Tuesday, January 19th, 2010

Red Henry

Red Henry

Okay, folks, here we are with another installment of our “Flying and Picking” series, where we relate my journey in learning one advanced skill (flying) to all our journeys in learning another (music). Today’s comment will be on PROCEDURES.

When you’re flying and landing a plane, there are things you have to do all in the right order and without getting rushed. This is true in any kind of flying, from my old jet-flying days in the Air Force, to landing a Cessna at the local airport.

For example, in landing a plane, you don’t do things just any way you feel like doing them. When you’re in the traffic pattern you reduce power, put down partial flaps and lower the landing gear, make your turns onto final approach, put down full flaps, and manage the controls and throttle so as to put yourself at just the right glideslope and airspeed. If you do those things right, you’ll find yourself set up just right over the runway for landing. Getting behind or out of rhythm is a sure way to make potentially hazardous mistakes. And as you’re going through these steps you’re also making radio calls, so that other pilots will know what you’re doing and everybody can take turns to take off and land safely. And you have to know all these procedures well enough to carry them out in a rhythm without thinking about them first, and without running out of time, so that you can get everything done and your mind can be on the moment-to-moment flying adjustments and making a good landing.

So what does all this stuff have to do with playing music and making it sound right? A lot. When you’re playing music, especially in a group, you have to have all the licks to the tune already in your head. You have to have practiced a tune over and over with the correct licks, fingering, and timing, so that you don’t have to think about every note, but can concentrate on playing smoothly and at an even tempo and sounding good. That way, when you play with others, you’ll be picking a recognizable tune at an even speed, and everybody else can keep up with you. You need to be listening to the group’s rhythm and not rushing or stumbling over any of your notes, or if you miss a few, coming back in at the right place, so that you (and the other players) don’t lose track of where you are. And when you pass the tune off to the next player, you let everyone else know what’s happening. You give a little glance or nod to the next player so they know it’s their turn, or else signal the end of the tune so that everyone knows it’s time to stop. That’s PROCEDURE. Everybody plays together and knows what’s going on, and the tune won’t crash, or at least, make a rough landing.

Flying and Picking– I love it.

Red

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Jan. 13th– Solo Day!

Friday, January 15th, 2010
Red, Jan. 13th

Red, Jan. 13th

Well, folks, this doesn’t have a lot to do with banjo playing, but I wanted to make a personal posting. This Wednesday, January 13th, 2010, I soloed in a small plane. This is the first (and biggest) hurdle every pilot has to achieve on their way to earning a pilot’s license.

In the last few days I’ve found that there are quite a few professional pilots and instructors, active or retired, who play banjo. To them, newbie students are a known quantity because they have done it all before, but even the most seasoned pilot remembers his or her first solo.

Yes, I did this once before. And more. You may remember my old USAF photo that I somewhat ostentatiously posted a few days ago. But that was about a hundred years ago, and this is new. And it counts.

Some details: I made three takeoffs and three landings (a convenient ratio) in a slightly rusty Cessna 172P, N51056, here at Winchester Regional Airport in Virginia. The three landings were all different (as every landing is) and they improved as I went along. The third landing was pretty smooth, if I say so myself.

There’s a lot more work and flying to do before earn my Private license, but I’ve gotten past Step One! More later as I go along–

Red

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Learning from Bill—By Ear!

Saturday, December 19th, 2009
Red Henry

Red Henry

Casey’s description of learning a tune by ear reminded me of my own experience. When I was a brand-new mandolin player, just starting out, I acquired Bill Monroe’s LP “Bluegrass Instrumentals”. Now, you might think that that was pretty far advanced for a beginner (and it was) but I knew the kind of  music I wanted to learn, and that was it.

Bill played a lot of great tunes on that album, and quite a few of them were both fast and complicated. So, how does a newbie learn something like that? Well, I had the means right at hand: Bill’s album, and a record player that slowed down to half speed, 16 2/3 rpm.

“What use was a piece of old junk like that”, you may ask, “something my grandparents threw away in 1973?” Well, in this case, the ‘old junk’ slowed Bill Monroe down to exactly half-speed—just slow enough for me to hear his notes—while staying in tune with my mandolin. (Okay, the music was down an octave—it sounded pretty low—but that was no problem.)

I started learning all the tunes I could off that album. Bill’s showpiece number “Rawhide” still comes to mind. I listened and listened, learning all three of his breaks the best I could, and played them for a while. Naturally I, as a beginner, didn’t hear and play all of Bill’s notes, but I’d made a good beginning, and anyway I was playing the SOUND. Weeks later, I went back to the record and learned the tune better. Later still, I went back and got my version even closer to his. Eventually, within the first couple of years, I knew what Bill had played and could play it myself. Since I’d learned it from the recording I had both the NOTES and the SOUND, and it was RIGHT.

The equipment available now (computer programs for low-speed playback) is more versatile in letting you listen to what you want to learn. You don’t have to listen with the music an octave down any more. But the principle is the same—as Murphy says, “Listen, listen, listen, and play, play, play.”

That’s what you do when you learn by ear—you learn what you can, get that into your brain and fingers, then go back later and find that you can learn still more. And more. Yes, it takes time and effort. But did you think that something this great—playing bluegrass music—was going to be easy?

Red

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No Time for Practice? Think Again!

Friday, December 4th, 2009
Red Henry

Red Henry

Folks, for Thanksgiving we went to visit Murphy’s parents. They live an 8-hour drive south of here, so driving both ways took a lot of hours, and for various reasons no picking developed while we were there. (With Casey, Chris, and three of Murphy’s sisters who play, and brother-in-law Mike as well, that’s a little unusual. But not many pickers were there at the same time, and we were occupied with turkey and other distractions.)

So what could a person do to keep from getting badly out of shape musically? Well, I just played for a few minutes from time to time, knowing that it was better to do that than to promise myself that I’d play a lot when we got home.

Why is that? It’s because it’s better to practice even 15 or 20 minutes every day of the week, than it is to play for 3 hours on Saturday. Especially if you are learning to play, if your daily schedule is so crowded and busy that you can’t play for your recommended hour a day, then play for 20 minutes. Play for 15 minutes. Play for 10 minutes. Play for whatever time you can manage, because it (1) keeps your hands in touch with the instrument, so it won’t feel strange, (2) keeps your right hand — usually the most difficult one — in some condition for those banjo rolls or flatpicking notes, and (3) reminds your brain of how it feels to play.

You might not learn much new material while playing for 15 minutes a day, but you can avoid losing ground, and your family, picking friends, and teacher will all appreciate it. If your day is hectic, just get that instrument out and play a little. By the end of the week, you’ll be glad you did.

Red

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