809 mandolin bridges

August 10th, 2010

Red Henry


809 bridges. That’s right, 809 of them. That’s how many mandolin bridges (mostly maple) I have made since I started making them in the summer of 2002.

About 130 of the bridges were experimental models made while I was developing the idea and the design. Here are some of the bridges I made while I experimented with designs and woods:

–as you can see, I tried lots of things. Altogether, I tried about 25 mandolin bridge designs and over 30 different woods. In the end, though, maple proved to be the best-sounding wood, and I settled on just two designs for my production bridges, the 11-hole design and the winged design shown above.

All these experiments showed that maple usually provides the best combination of tone, volume and sustain for a mandolin bridge, and I eventually began selling the bridges. Over 750 bridges have been made for sale and shipped them out to customers, and most of those bridges are now installed on someone’s mandolin. I have several site-pages devoted to the bridges, including my “hard-sell” page.

So, what conclusions can I draw from selling bridges for eight years? Well, for one thing, making and selling mandolin bridges won’t make you rich. But the bridges are certainly worthwhile, when you see the look on a mandolin owner’s face when he or she first hears their mandolin with a maple bridge on it!

Red

Banjo Lesson Ideas

August 9th, 2010

Casey Henry

I ran across this article last night (through a link posted on Twitter) about people spending less and being happier. It’s an interesting subject to be because I always find that when I get caught up in the cycle of buy, buy, buy it never makes me feel as satisfied as I think it will. I try to practice “calculated consumption” rather than “conspicuous consumption” and I always feel better when I do.

The article says that new studies show that “people are happier when they spend money on experiences instead of material objects.” I’m all in favor of that. Until I pause and consider that The Murphy Method sells material objects (DVDs) and it would be bad if people stopped buying them.

But that’s not all we sell. We sell knowledge. We sell the experience of learning an instrument. We can teach you how to develop a skill, which is not at all the same as conspicuous consumption.

In that vein I was thinking about how we could do more of that: sell knowledge more effectively. With one of my students who moved away from Nashville I’m doing long-distance lessons like this: every week she learns a new song off of our DVDs (she’s working through Improvising right now). She records herself playing it and emails it to me. I listen and comment and give her an assignment for the next week. That way she has the motivation to keep learning (nothing like having to play for a teacher!) and she has me nagging her to find other people to play with.

Would that sort of thing interest more people? A banjo-lesson subscription service where you pay a flat fee every month, learn songs off of our DVDs, and maintain a weekly email correspondence with the teacher (that would be me) recording yourself playing your tunes so that I can comment and correct. You would have to be computer-savvy enough to be able to email an audio file, and to open one up and play it when you received one back from me. These audio file exchanges could be augmented with webcam lessons if you have the necessary equipment (that would be a webcam…).

If you’re at all interested email me (or comment below). If there seems to be widespread interest we may figure out how to add it to the regular TMM website.

Red and Murphy’s old recordings — planned for download

August 6th, 2010

Red Henry

We’ve had some requests in the last few years for us to make our old Red and Murphy and Co. LP records available again. In this day and age, we plan to post the tracks for inexpensive download on our website.

Here’s a look at our band. We played bluegrass full-time for 11 years, mostly around the Southeast in Florida, Georgia, and Alabama, but also playing festivals up the Atlantic seaboard as far as Canada.

This photo of Murphy and myself with her singing-and-songwriting sister Nancy dates from 1979 (There’s a lot of nostalgia here. Those were ‘tight’ times. By the end of the recession in 1981-2, most of these instruments were gone!):

1979

-and this one is of our big six-piece band in 1985 (Tuck Tucker, Bill Baker, Bob Higginbotham, Nancy Pate, Murphy, and myself):

1985

These are the seven LP albums we made in the olden days, and the year each one was released. (The albums all featured a lot of original material, and as you can tell from this list, most of them were named for one of Murphy’s songs!):


“Riding Around on Saturday Night”
, 1977

“Fast Picks and Hot Licks”, 1978

“Pall Mall Reds”, 1979

“My Everyday Silver is Plastic”, 1980

“I Ain’t Domesticated Yet”, 1981

“Just Remember Where You Could Be”, 1983

“Real Time Reel”, 1985

-and in addition, we produced two family band cassette tapes by Red and Murphy with their Excellent Children, Casey and Chris:

“Granny Don’t Dance”, about 1994

“My Dixie Home”, about 1995.

As I mentioned, we’d like to post this music on our site so that it will be easily available. That’s the plan, and we hope to be moving on it this year. So this is just a “heads-up” for all you Red and Murphy fans out there, that some Mighty Fine bluegrass music is going to be heard for the first time in a long while!

Red

When My Mama Sang To Me

August 4th, 2010

Many of you may be familiar with this song, which Murphy wrote years ago and performed regularly on stage as part of the Red and Murphy set. This is the recording we made of it, I think from the first Red and Murphy and Their Excellent Children album. Murphy on banjo and lead vocal, Red on mandolin and baritone vocal, Casey on bass and tenor vocal, Chris on guitar. (Click on the title to listen.)

When My Mama Sang To Me

Mama

August 3rd, 2010

Murphy Henry

As some of you already know, on Friday, July 16, I lost my dear sweet Mama. Or as I called her “my little Mama Pajama.” She had had Alzheimer’s for several years but it was finally her congestive heart failure that took her. She was 85. Her death was not unexpected, but still these first weeks without her have been hard. Who is ever prepared to lose their mother?

Wynk Hicks (aka Mama, aka Grandmother) and Casey Henry. October 2008

Wynk Hicks (aka Mama, aka Grandmother) and Casey Henry. October 2008

As Fate would have it, my sisters and I and many of the nieces and nephews had already planned to be in Georgia that weekend for our annual Hiawassee picking party. We had known all week that Mama had been struggling with shortness of breath but she’d weathered so many storms in the last few years (including a heart attack) that we thought it entirely possible she would pull through again. One of the Greatest Generation, she was made of stern stuff. My sister Nancy, who was having her week-long summer visit with the parents, did a wonderful job of keeping us apprised of Mama’s condition, but neither she nor the Hospice nurse nor any of our round-the-clock caregivers had any idea that Thursday would be Mama’s last night.

The story of that last night, as it was told and retold during the weekend of the funeral, was filled with meaning. Mama, who for once was resting in bed, asked for the preacher. Nancy called him but he didn’t get the message. So Nancy and my sister Claire, who was there for the night, went back to the bedroom and read from the Bible, sang some songs, and had a prayer with her. Then Nancy asked Mama if she wanted to say a prayer. Mama said she did. And Nancy said it was as if her Alzheimer’s didn’t exist—she prayed a long, eloquent prayer as we had her do in church so many times before. Then Mama asked, “What’s the game plan for tomorrow?” Claire said, “What do you mean?” And Mama replied, “Tomorrow’s going to be a Big Day.” Still, at the time, we just didn’t know.

Our wonderful round-the-clock help, Rita and then Karen, each sat by Mama’s bed for a long time that evening and both later told us some of the things that Mama said. She looked for a long time at the big picture of us—her five daughters–that hangs on the wall near her bed and talked  about us. Mama said, “I’ve got doctors, and I’ve got teachers.” (And as I’m hearing the story I’m thinking, “What about me?”) And then Mama said, “And I’ve got musicians. Lots of musicians.” And she went on to say how proud she was of all of us and that we had “done a good job.” I felt like we had received her blessing.

She also told Rita that tomorrow she and her girls would be “stepping on the soil.” At the time, Rita thought that she might be referring to Heaven. But later Rita told us that she’d found out that “stepping on the soil” was an old country expression that referred to digging a grave and the soil was the earth which was thrown out onto the ground. (Have any of you heard that?)

Mama slept pretty well that night, with Karen close at hand, and early the next morning, Claire, who is one of the doctors, thought Mama was doing well enough for her to go back home to her work in Asheville, N.C. But when Nancy checked on Mama around 7 a.m. her breathing had taken a turn for the worse. Rita, bless her sweet heart, had had a bad feeling and had come to the house even though it wasn’t her shift. When she saw Mama she immediately called the preacher, the Hospice nurse, and Mama’s own doctor and said, “You better come now.” And they did.

Red and I had just about finished packing the car for the trip down and he had gone to gas up when Nancy called to say that Mama would probably die that morning. I, of course, burst into tears. Nancy, who handled this entire experience with unbelievable poise and grace, had the presence of mind to ask me if I’d like to say goodbye to Mama on the phone Oh, yes! So Nancy held the phone up to her ear and I told Mama I loved her and would miss her every day of my life. She could not respond, but I believe she heard me. What a blessing that was.

As we left the house, I grabbed some photo albums and pictures of Mama to have for the trip. And that was a good thing because we had not been on the road long when Nancy called to say that Mama had died. It was 9:10 a.m. I could hardly talk as I called Casey and Chris to tell them that their dear grandmother had passed away. Chris was coming to Georgia anyway for the picking party, but Casey was in Michigan performing with the Dixie Bee-liners who graciously finished up their gigs without a banjo player so she could fly down to Georgia. I wished so much that I could be with each of them. It was a long, sad trip home with many tears. I was so glad to have Red there, doing the driving and holding my hand when I would start crying. I talked to my sister Laurie many times both to give comfort and to receive it. She is the youngest of us (and is also a doctor), and I always thought she was Mama’s favorite. (Although I’m sure Mama would deny having a favorite.)

Once we arrived in Clarkesville, there were more tears but there were also sisters and nieces and friends and flowers, and, yes, church ladies bringing food. Together we five girls planned Mama’s funeral service. We even managed to get a good laugh remembering Mama’s instructions about picking out her casket. She’d told us, “Price the least expensive casket, then price the most expensive casket. Then buy the cheapest one and give the difference to the church.” We couldn’t quite bring ourselves to buy the pine box, but followed the spirit of her wishes as best we could.

I’d always imagined, as the oldest daughter, that I would speak at Mama’s funeral, but I found that I could not. Instead, four of the grandchildren took part in the service. Chris spoke extemporaneously about his beloved grandmother and Casey played the song Mama always sang us to sleep with, “There’s A Little Cabin,” on the banjo. Then, as Mama had requested, our Texas cousins sang “Now I Belong To Jesus” as she left the Clarkesville Baptist Church for the last time.

At the graveside service after a prayer and a poem, the preacher read a portion of one of my blogs about Mama and me playing Scrabble. It felt good to remember those happy times, and even smile a little, in the midst of so much grief.

I miss Mama so much but writing this, knowing you will read it, has helped me a lot. Thank you for listening.

Winnie Claire Murphy Hicks


January 21, 1925-July 16, 2010

“How often should I change my strings?”

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

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)

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

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

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.