Like Riding a Bike

A while back I had a student say to me: “I wish playing the banjo was like riding a bike where you never forget it!”

While that’s mostly true – we have to continue to practice, or we’ll get way too rusty – I can think of one area of musical practice that doesn’t seem to diminish nearly as quickly: basic chords.

Among my students are both those that have had previous experience as guitar players, and those that have not. If someone has played guitar, even if it was many years ago as a youngster, their progress with basic chords is noticeably quicker. And very importantly, they also are quick on being able to change chords from one to the other as well.

Now if only we could store up practice, statically, rather than it being so dynamic and falling away from us so quickly. That has its downside as well, though – think of how hard it would be to correct bad habits if that were the case!

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Knowledge and Wisdom

Knowledge is knowing that a tomato is a fruit.  Wisdom is knowing not to put it in a fruit salad.

So we must also remember:

Knowledge is knowing how to execute a full-fretboard G major scale. Wisdom is knowing not to stick the whole thing in a break.

Knowledge is knowing all the words and chords to all the songs. Wisdom is not trying to prove it.

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The Banjo & Bluegrass Jam Session is Tomorrow!

The Practice Banjo & Bluegrass Jam Session at The Coffee Tree Books & Brew

As usual, this is on the third Saturday of each month; Augusts jam will be on the 15th. Kind of early for the third Saturday, but then August 1st was a Saturday. It’s from 4:00 – 5:00 pm at The Coffee Tree Books & Brew across Bailey Cove Road from Grissom High School in Huntsville, Alabama. Here’s a map in a new browser page. It’s geared towards anyone wanting to learn better jamming skills. It’s primarily for my bluegrass banjo students, but anyone is welcome and encouraged to bring an instrument: guitars, mandolins acoustic basses, dobros, harmonicas and fiddles are most welcome! Also, you don’t need to be a student of mine to attend.

As we practice at home and in formal lessons, it’s easy to get accustomed to playing in a vacuum. And yet so much of the learning experience in music is accomplished with the direct interaction only found in a live jam session!

The purpose of these jams sessions will be:

  • To give you more hands-on experience with playing in a live, yet stress-free, setting. No one’s going to throw tomatoes!
  • To introduce students to a wider variety of bluegrass, folk, jazz, etc. songs for possibly learning in the future.
  • Lastly, it’s a great way to meet other students!

So, join us – it’s for everyone, whether you bring a banjo, guitar or other instrument to play or just want to watch and learn!

Contact me at Phill@PhillGibson.com if you have any questions.

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Binaries and Triads

We’ve all seen some common binary concepts in life from time to time. Things like digital vs. analog, good vs. bad and even something so commonplace as night vs. day.

But do you know any concepts that involve triads? How about this one:

Good – Cheap – Quick

This is the same concept that is taught in courses in PMP (Program Management Professional – the job of running any complex construction project, be it physical, such as a building, or virtual, such as a large computer application). The idea goes like this. We can often find one or even two of these qualities in something, but it is next to impossible to find all three at the same time. Think about it. If you built a widget for a living, how could you excel at making it better, cheaper and quicker than your competitors, and keep on doing it long-term? You might do it for a brief period, but to sustainably do all three is a tall order, indeed!

So, Phill – how can you possibly relate this to picking a banjo?

Well, I’ll tell you.

On the surface, it easily applies to the banjo you have (or the one you want to have). You can obtain great quality in it, but never expect the process of getting a great banjo to be either cheap or quick. Although I do have a nice older mid-range Epiphone MB-250 banjo that I found for $40, so deals do happen. Just be surprised when they happen.

But on a deeper level, how does it apply to banjoists? How about with your learning and goals?

You can get good at playing the banjo (the ‘good’ part), and you can do it with a minimum of expense, both time-wise and money-wise (i.e., you can learn efficiently; the ‘cheap’ part) and you can also be good on the uptake (i.e., you are talented; the ‘quick’ part). But realistically, you know these things take considerable time and effort, so to expect to excel at the banjo (or anything else, for that matter), it is basically increasing one of these three things (the ‘good’  part) at the expense of the other two (the ‘cheap’ and ‘quick’ parts).

For example, do you want to be able to play in a week or two? Then expect to decrease the ‘good’ part of the equation. Interestingly, throwing lots more money and cramming of time will not have much effect on your real progress.

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And here’s another triad:

Simple – Efficient – Versatile

I forget where I learned this one – maybe I thought it up. Anyway, it goes much like the good-cheap-quick idea; increase any one of these at the expense of the other two.

Now apply it to us ‘banjer-pickers’. First off, you see it does sort of fit in when it comes to the banjo itself. We can make the instrument itself simpler; maybe for old-time playing. Lose the tone ring and resonator. No truss rod. It is now simpler, but is now very efficient at being, say, a minstrel banjo or a more historically accurate instrument. But it has also lost its versatility.
Now, let’s do the opposite. Let’s make the banjo more efficient, which is exactly what happened during the industrial revolution. Physical improvements were invented and applied, changing a simple instrument into a more complicated one. Once again, one or two attributes of the banjo were sacrificed in order to elevate the other.

Or, let’s make the banjo more versatile. Maybe make it for both clawhammer and Scruggs style playing. My Stelling Red Fox excels at both these disparate styles, but that’s usually not the case in a banjo. I wouldn’t consider a Stelling a simple banjo, but here is a good optimization; efficient and versatile!

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Introducing New Songs to Students

New songs are good for your perspective – they can keep you feeling inspired and eager to learn more. Often, you can chop up a new song and reuse new licks you’ve learned elsewhere. They can also help you refine and polish your playing.

But learning new material can also be a balance. You want to make sure you’ve mastered new material; don’t take on too much at once. On the other hand, you also want to keep from getting in a rut just playing the same stuff over and over; always be striving for at least one new song.

After a student learns the basics of rolls and chords plus a few standard licks, I like for them to always have at least one new song to be working on.

When it comes time to introduce new material, here are a few points I try to remember.

Some Background
Some songs have a very interesting background to them that isn’t obvious in their title or words. Plus, if you’re only learning an instrumental break, you might not even get exposed to the words. So if a song has a bit of history behind it, I like to make it known.

Medium Speed to Help Get a Feel
I play the song through the whole way, so the student can get an idea of what it sounds like. I’ll play it fast enough that it has the proper feel to it, something that is lost if you only hear a song at a very slow pace (like the pace that you usually learn it at).

Chord Structure
Next up is going over the chords to the song. Learning the chords might not be as critical to learning the melody and / or a break to the song, but it helps get a feel for the song nevertheless.

Tab – Slow it Down
Here is the bulk of the effort, whether I’m teaching the song from tablature or from example. I always slow it way down. That might seem very obvious, but actually that’s easier to forget about as an instructor than you might imagine. After all, you can play it fast, why can’t everyone else play it just as fast? 🙂

Backing Up
Last but not least is learning how to play back up to the new song. Have you ever played a break at a jam session, only to remember that you never took the time to learn the chords? If it’s a simple song, you may be able to work them out, but not always. Be sure to know how to back up any song that you know a break to!

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The Road in Song

What is it about the open road that is so appealing in song? It pops up so often – in rock, blues, bluegrass, country, you name it. For as long as people have wanted to get away from something, surely there have been road songs.

Is it just the simple fact of the freedom that we find in an unaccounting, open-ended road? Something that represents a certain kind of freedom from the mundane and the routine. It represents a break from responsibilities that seem to grow on you, especially as you get older. But you also realize as you get older, one of your options is that you adhere to those responsibilities, making freedoms more a pipe dream and less a reality if you respond to it accordingly. The other option is to take no responsibility. Admittedly an extreme option, so why not substitute a good song about the road instead – what a fresh relief!

I might also mention the sub-genre of road songs that are something like “I’m so lonely for home” or “I’m finally going home”. They have a little different sentiment from the “let’s hit the road just for fun” or “I’m through with it all so I’m leaving” type that I’ve described above.

I believe we have a topic here that bears under-analysis. Take it for its simplicity and leave it alone. So, in keeping with my own advice, see how many of these road songs you know or remember. They’re in no particular order. Some have been recorded by many different artists, so I’ll leave those with just the songs’ name.

Johnny Rodriguez – Ridin’ My Thumb to Mexico
Ramblin’ Man – The Allman Brothers Band
Road House Blues – The Doors
Lonesome Road Blues
It’s Mighty Dark to Travel
Eight More Miles to Louisville
King of the Road- Roger Miller
Key to the Highway – Big Bill Broonzy
Statesboro Blues – Blind Willie McTell
Roll on Down the Highway – Bachman Turner Overdrive
Arkansas Traveler
Carefree Highway – Gordon Lightfoot
Lost Highway – Hank Williams
500 Miles
I am a Pilgrim
Rockin’ Down the Highway – The Doobies

What other songs come to mind when you think of road songs?

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How I Measure Banjo Speed

Most musicians measure speed in beats per minute (BMP), which is pretty intuitive for most folks. It’s also part of our standard system of musical notation, so we should all get to know it; so many beats per measure, depending on the signature of the song.

But I’ve always measured the speed of playing the banjo a little differently. I came up with it when I first started playing banjo, when I didn’t know anything about reading music. I’ll explain my system for measuring banjo speed here and also address why I like it better.

First, here’s how to do it. In typical bluegrass fashion, it is indeed very simple.

  1. Do a series of alternating thumb rolls. You can use any roll you like, but this one is the easiest for this measurement technique as it contains an easily recognized recurring pattern, 4 notes in this case.
  2. Look at a clock and start counting each time you strike a note on a beat. For this roll, that’s every fourth note. Count how many sequences you can complete in ten seconds. As an example, let’s say you completed 23 sets of 4 notes. That means you just played 23×4=92 notes in ten seconds.
  3. Now divide your total (92 in our example) by 10 (for ten seconds): 92/10=9.2 notes per second (NPS). That’s a pretty decent clip.

Why do it this way when you can also measure it by BPS? I like this method because:

  1. It is independent of what musical signature you use. Whether it is 2/4 time, 4/4 time or whatever, this method simply measures how fast you are playing. Period.
  2. Time itself doesn’t vary (you Einsteinian and Quantum Physicists out there can sit down, please – banjos are strictly Newtonian devices 😉 ) so why not just tie speed directly to time?
  3. Last and perhaps most importantly; this method is more inline with the usual bluegrass way of thinking (keep things simple), in my humble opinion.
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Getting Away From It All!

Sometimes, it’s so good to take a break and get away from it all; especially away from technology!

Have you ever received an email to this effect:

“Hi, Sorry to be so late getting back with you; my email client got hosed…”

or:

“Sorry I been swamped lately; the computer broke and I’m just now getting back online!”

or even more to my liking:

“Sorry I’ve not emailed you back yet; it was just so nice to take a long break from emails, Facebook, Twitter and the like.”

I think we can all relate to this; technology is definitely a double-edged sword. We see the benefits of it and we also become more and more aware of the hassles of it; it has become a love / hate relationship; the thing that we must periodically get away from when we talk about “getting away from it all”.

Yesterday, I showed a good friend of mine how to get to one of the remotest places here in Madison County for a quick get-away. It’s a great place to totally forget just how close we are to so much advanced technology. To look out from the campsite, through the pines, over the mountain ridges and see a brief glimpse of the Tennessee River far away – it’s such an inspiring view from this place.

That’s also how I think of banjos and Bluegrass music. It’s not something to get away from – it’s something you get away to! As I’ve mentioned before in this blog, it’s the banjos’ lot in this world to be perceived as a carefree instrument (among other perceptions). That’s good to remember from time to time.

Make sure you’re still having fun with it, especially if it’s your livelihood, so as not to miss the forest for the trees.

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When New Skills are Like a Magnet

Ever see that old Bugs Bunny cartoon where he and Yosemite Sam are trying to get rid of a lit stick of dynamite? They keep passing it back and forth; shoving it into each others hands, until that crafty fur-bearing varmint starts taking the dynamite. Yosemite Sam finally settles the argument once and for all by insisting on keeping the now-short fuse, with the usual comic disaster that follows.

“Ahhh hates rabbits!” mutters Yosemite Sam.

That’s human nature, which is also what makes it so funny. We’re all like that from time to time especially with things, like with Bugs and Sam, that are repetitious in nature.

When you learn repetitious musical techniques, it can also be human nature to resist things that are very close to what you already know.

Learning to pick with three fingers when you are already comfortable with picking two-finger style is a good example. So is going from 3 to 4 finger picking. Also, I’m comfortable playing a flatpick on the mandolin, but it is more difficult to keep with it with a guitar.

When the new thing you are learning is very close to what you already know, then the temptation to revert back to the old way is very great; it’s like a magnet. The closer you are, the more it draws you back. Back into playing in the old comfortable way. Your fingers want to take charge here and let your mind rest from this new stuff; after all, they know just about how it goes. You have to let your fingers know who is boss; we’re doing this with a different twist.

It’s certainly satisfying and fun to play in whatever style you know, but if it’s your goal to learn some new technique, then you’ll have to face the fact that developing new techniques that are very close to what you already know will require a bit more determination and perseverance.

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They Ought to Have a Name for it – Stuck in a (Fret) Rut

This happens with your fretting hand when you are playing a lick and you don’t get your fingers positioned exactly right before it is time to pick the notes. You’d like to lift one or more of your fingers and reposition them a little better, but it is too late; you’re already using those fretted positions!

And often you can’t wait just a little to do it, either, as the next set of notes requires that you simply slide that same fretting hand position up or down the fret board without lifting them. You’re stuck in a bad fret rut.

Not much can be done here; just play through it as best you can and make sure next time to get the fretting right the first time.

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