"If one advances confidently in the direction of his dreams, and endeavors to live the life which he has imagined, he will meet with a success unexpected in common hours."
Henry David Thoreau
Henry David Thoreau
My Philosophies, Essays and Musings on Music and Musicianship.
The Importance of Tuning
The importance of tuning your instrument before entering a jam session is so necessary a step to a successful, meaningful musical experience; not only for one’s own satisfaction, but for the overall satisfaction of the group of assembled musicians.
It isn’t enough to rely on the accuracy of inexpensive electronic tuners that can be off as much as a whole tone when batteries are weakened through use or age. Checking and replacing worn out batteries is an obvious “must”.
Capo placement is critical, too. A poorly placed capo can raise the pitch a semi-semi tone on a guitar, banjo or mandolin (some players use capos on mandolins) creating a disturbing dissonance for fellow musicians and listeners alike.
Of course, some inexperienced players are unable to detect when an instrument is out of proper tuning. Those persons should pay particular attention to replacing batteries in electronic tuners when necessary and check and re-check capo placements (with their tuners) to assure pitch accuracy. Not allowing an electronic tuner ample time to zero-in on a certain frequency is a common mistake inexperienced players make when attempting to tune for a jam session. Taking adequate time to ascertain that the pitch is correct is so important for the overall good of the group, yet so many musicians hurry through this most important step.
Maintaining proper tuning throughout the entire jam session is also of utmost importance. It is never enough to only tune at the beginning of a session. Checking often is a better way to assure a jam session free from the din of instruments wildly out of tune.
It isn’t enough to rely on the accuracy of inexpensive electronic tuners that can be off as much as a whole tone when batteries are weakened through use or age. Checking and replacing worn out batteries is an obvious “must”.
Capo placement is critical, too. A poorly placed capo can raise the pitch a semi-semi tone on a guitar, banjo or mandolin (some players use capos on mandolins) creating a disturbing dissonance for fellow musicians and listeners alike.
Of course, some inexperienced players are unable to detect when an instrument is out of proper tuning. Those persons should pay particular attention to replacing batteries in electronic tuners when necessary and check and re-check capo placements (with their tuners) to assure pitch accuracy. Not allowing an electronic tuner ample time to zero-in on a certain frequency is a common mistake inexperienced players make when attempting to tune for a jam session. Taking adequate time to ascertain that the pitch is correct is so important for the overall good of the group, yet so many musicians hurry through this most important step.
Maintaining proper tuning throughout the entire jam session is also of utmost importance. It is never enough to only tune at the beginning of a session. Checking often is a better way to assure a jam session free from the din of instruments wildly out of tune.
Creativity Using A Capo
When considering the wise use of capos during musical sets for bands performing Bluegrass to minimize the fine-tuning and re-fine-tuning over and over again within musical set lists, it’s seems to me that careful selection of songs and instrumental tunes and their key signatures would be warranted.
Let’s assume, for example that the first piece on set “A’s” list is an instrumental in the key of A and the instruments present in the band are guitar, banjo, mandolin, fiddle and upright bass. The guitar and banjo will most likely capo up two frets. Hopefully the instruments using capos will be tuned before beginning the set, using an electronic tuner to finely adjust the effects using a capo will have on the tuning of the instrument. Assuming all instruments are in tune as the tune begins, the music will be pleasing to the audience in so far as consonance is concerned.
Now, for tune number two on the set list, perhaps we selected a song in the key signature of D. The guitar and banjo are in tune with the capo on the 2nd fret and simply choosing to play in the “C” position will guarantee a minimum, if any, tuning to prepare for this next piece.
For tune number three, perhaps the band might select another song, this one in the key of E. The guitar might elect to play it in “D” position while remaining capoed on the second fret. No tuning necessary. In this example, the banjo might elect to remain at the 2nd fret and play in “D” position or if necessary, re-capo to the 4th fret, playing in “C” position causing a disruption in the continuity of the band’s program. At least there has been a minimum of tuning up to this point.
Entire sets can be constructed using a minimum of re-tuning and re-capoing by a little thought as set lists are created. How creative can you be?
Let’s assume, for example that the first piece on set “A’s” list is an instrumental in the key of A and the instruments present in the band are guitar, banjo, mandolin, fiddle and upright bass. The guitar and banjo will most likely capo up two frets. Hopefully the instruments using capos will be tuned before beginning the set, using an electronic tuner to finely adjust the effects using a capo will have on the tuning of the instrument. Assuming all instruments are in tune as the tune begins, the music will be pleasing to the audience in so far as consonance is concerned.
Now, for tune number two on the set list, perhaps we selected a song in the key signature of D. The guitar and banjo are in tune with the capo on the 2nd fret and simply choosing to play in the “C” position will guarantee a minimum, if any, tuning to prepare for this next piece.
For tune number three, perhaps the band might select another song, this one in the key of E. The guitar might elect to play it in “D” position while remaining capoed on the second fret. No tuning necessary. In this example, the banjo might elect to remain at the 2nd fret and play in “D” position or if necessary, re-capo to the 4th fret, playing in “C” position causing a disruption in the continuity of the band’s program. At least there has been a minimum of tuning up to this point.
Entire sets can be constructed using a minimum of re-tuning and re-capoing by a little thought as set lists are created. How creative can you be?
What Did You Say?
Did you ever enter into a conversation with someone who would speak right over you when you were responding to their prior remarks? If so, then you know how irritating that can be. Such a person is said to be disrespectful, or at the least, thought of as being rude or lacking fundamental rules of polite conversation.
This same condition applies equally as well to musicians in a jam session or performing a tune in public. Imagine that you're all playing and singing the popular song "Will The Circle Be Unbroken" and it is your turn to lead-sing a verse. Just as you begin to voice the first line of your verse, the banjo, fiddle or resonator guitar player decides to play "backup" so loudly that it distracts not only you from singing and concentrating, but distracts the listeners from the "heart" of the tune. While the backup "artist" may feel his/her ego has been sated, the storyline and consequently the tune, at this point have undoubtedly become a mess and many a listener's flowing attention to the piece has dropped out of the interest zone. Applause at the end is usually obligatory and not necessarily spontaneous or well deserved.
This is what happens when there is improper etiquette in a jam tune and poor arrangement in a performance piece. It's one of the main reasons why bands forming at the outer periphery of Bluegrass performance are unable to stay the course and meld together into an integrated musical entirety.
When each individual learns to integrate, chances of success move up rapidly.
This same condition applies equally as well to musicians in a jam session or performing a tune in public. Imagine that you're all playing and singing the popular song "Will The Circle Be Unbroken" and it is your turn to lead-sing a verse. Just as you begin to voice the first line of your verse, the banjo, fiddle or resonator guitar player decides to play "backup" so loudly that it distracts not only you from singing and concentrating, but distracts the listeners from the "heart" of the tune. While the backup "artist" may feel his/her ego has been sated, the storyline and consequently the tune, at this point have undoubtedly become a mess and many a listener's flowing attention to the piece has dropped out of the interest zone. Applause at the end is usually obligatory and not necessarily spontaneous or well deserved.
This is what happens when there is improper etiquette in a jam tune and poor arrangement in a performance piece. It's one of the main reasons why bands forming at the outer periphery of Bluegrass performance are unable to stay the course and meld together into an integrated musical entirety.
When each individual learns to integrate, chances of success move up rapidly.
The Importance of Integration.
A musician is said to be a person who is skilled in music; especially someone who is a professional performer, orchestral conductor or composer. A person thought to be "musical" is one who is sensitive to, or again, skilled in music. Music itself is defined broadly as the art and science of combining vocal or instrumental tones in varying melodic, rhythmic and harmonic forms and especially in a manner that forms a structurally complete and emotionally expressive composition.
So then, "musicianship" might well be: 'of or relating to the professionalism of performing music'. Assuming this to be a correctly reasoned definition, it seems logical that certain preconditions would apply to the performing of music in order to attain higher degrees of musicianship.
Have you ever been in a bluegrass jam session and after what seemed an endless and tiring attempt, eventually felt unable to attain the optimum experience of "flow" even though all the musicians participating were skilled?
Integration in a jam session guarantees that what happens to one musician will affect all others. Even though each musician has individually maximized their personal musical skills and chosen individualized pathways through the jam tune, each musician is working as a part of a greater whole. This is the key to an optimum musical experience. When a musician has learned to integrate and become one with the loving energy that is flowing through the music being played, he or she has attained the level so many other "musicians" - even highly trained - may never know and experience. Accepting the traditional form of jamming without integration becomes at times both boring and frustrating. Without integration there is little enthusiasm or happiness and the group will soon break up as the more musical types recognize the wasted time and energies in inner turmoil. How many times have you witnessed a perfectly good jam session go the way of the Woolly Mammoth just because a certain individual showed up and decided to "take over"?
Many musicians are laden with preconceived notions about dominance over other musicians. They're typically easy to spot: they continue to play loudly over the top of the vocalists who are harmonizing, or take their breaks while others are taking theirs, or slap their bass through the entire tune. But is this type of psychic energy what "professional" musicians want in their jams or musical groups? It's not easy for these types to develop appropriate skills but when one properly confronts the necessary challenges he/she can become an active part of a group and fully integrate. Such inner congruence eventually will lead to an inner strength and seasoned serenity that becomes contagious to other musicians in the group.
So then, "musicianship" might well be: 'of or relating to the professionalism of performing music'. Assuming this to be a correctly reasoned definition, it seems logical that certain preconditions would apply to the performing of music in order to attain higher degrees of musicianship.
Have you ever been in a bluegrass jam session and after what seemed an endless and tiring attempt, eventually felt unable to attain the optimum experience of "flow" even though all the musicians participating were skilled?
Integration in a jam session guarantees that what happens to one musician will affect all others. Even though each musician has individually maximized their personal musical skills and chosen individualized pathways through the jam tune, each musician is working as a part of a greater whole. This is the key to an optimum musical experience. When a musician has learned to integrate and become one with the loving energy that is flowing through the music being played, he or she has attained the level so many other "musicians" - even highly trained - may never know and experience. Accepting the traditional form of jamming without integration becomes at times both boring and frustrating. Without integration there is little enthusiasm or happiness and the group will soon break up as the more musical types recognize the wasted time and energies in inner turmoil. How many times have you witnessed a perfectly good jam session go the way of the Woolly Mammoth just because a certain individual showed up and decided to "take over"?
Many musicians are laden with preconceived notions about dominance over other musicians. They're typically easy to spot: they continue to play loudly over the top of the vocalists who are harmonizing, or take their breaks while others are taking theirs, or slap their bass through the entire tune. But is this type of psychic energy what "professional" musicians want in their jams or musical groups? It's not easy for these types to develop appropriate skills but when one properly confronts the necessary challenges he/she can become an active part of a group and fully integrate. Such inner congruence eventually will lead to an inner strength and seasoned serenity that becomes contagious to other musicians in the group.
A Treatise on Concentration.
Whether its performing on stage in front of a live audience or practicing your bluegrass instrument in the privacy of your own home, concentration is a very important component of music making.
Focusing one's attention completely, to the exclusion of most everything else is an important dimension of playing a musical instrument or singing if one hopes to enjoy the optimum experience that music might offer. Rejecting all irrelevant information going on around one while pickin' certainly needs practice, too.
When thinking and worrying intrudes upon our conscious mind, there goes the opportunity to experience the very best our music has to offer. Learning to "tune out" this unwanted noise is a basic element of reaching a higher level of musicianship.
Ordinarily our psychic energy is dampened with the dew of preoccupations and anxieties and useless energies are spent lavishly on entropic matter. It is only when we learn to structure the demands of entropy that we begin to experience the optimum condition that devoted concentration will help us attain. It is at this level that music is most enjoyed. An artist is most enthusiastic about his or her music at this height.
It is this reason that improving the quality of experience leads so many musicians to practice for uncounted hours, day after day.
Focusing one's attention completely, to the exclusion of most everything else is an important dimension of playing a musical instrument or singing if one hopes to enjoy the optimum experience that music might offer. Rejecting all irrelevant information going on around one while pickin' certainly needs practice, too.
When thinking and worrying intrudes upon our conscious mind, there goes the opportunity to experience the very best our music has to offer. Learning to "tune out" this unwanted noise is a basic element of reaching a higher level of musicianship.
Ordinarily our psychic energy is dampened with the dew of preoccupations and anxieties and useless energies are spent lavishly on entropic matter. It is only when we learn to structure the demands of entropy that we begin to experience the optimum condition that devoted concentration will help us attain. It is at this level that music is most enjoyed. An artist is most enthusiastic about his or her music at this height.
It is this reason that improving the quality of experience leads so many musicians to practice for uncounted hours, day after day.
Reflections.
"The sun that lights us all, the stars, the sea, the train of clouds, the spark of fire-- if you live a hundred years or only a few, you can never see anything higher than them." Menander, poet.
Organized Auditory Information
Music is organized auditory information. Hearing music is different than listening to music. To truly enjoy music, one has to listen to it; to pay attention to it. Focusing attention to our selected music deepens our concentration on listening. We begin our listening experience by calling our sensory elements into play. Our pleasure is excited by the familiar structure of Bluegrass chords on the guitar, or the incessant recurring dominant notes of the banjo rolls. Tension begins to build in our nervous system. Then we begin the analogic structure where the words, chords, notes, melodies, etc., begin to evoke feelings within us. Images appear in our mind's eye as the lyrics determine our moods.
Those of us who learned music by focusing our attention to the rhythms and harmonic structures early in our musical development went on to develop analytic listening skills, as well. When we are drawn into a piece of music, we not only enjoy the familiarity of chords, rolls, licks, bowing techniques and the like, but we compare various Bluegrass structures from piece to piece. The opportunities in enjoying music present themselves in deeper and deeper structures as we recognize underlying composing techniques and harmonic interplay.
Learning to make music - composing - provides even greater, more intense attention. As we create order and organize the rhythms and harmonies we are feeling, we truly deepen the sense of musical experience consistent with our talents and time.
Take time today to enjoy music whether in a sensory, analogic or analytic mode. Exhilarate yourself!
The Ten Commandments of Bluegrass Etiquette
Below is a humorous list that was provided to me for the purpose of posting on my website. It spells out the concerns associated with jamming Bluegrass music in a group of varied-talent musicians.
The Ten Commandments of Jam
1. Thou shalt not break time, rhythm being the basis on which the session is built, nor shall the bass player ever forgive thee.
2. Thou shalt not stop the session to tune up. Tune thy strings beforehand, but giveth the banjo picker a chance to change keys.
3. Present not thyself in the center of the session. If in doubt, ask who wanteth thy backside in his/her face.
4. Hoggeth not the session. Giveth thy neighbor a chance. Unlikely as it may seemeth, they may be gifted as thee.
5. Forgeteth not to be helpful to the beginner, remembering thy days, yea even years, of clumsiness.
6. Bringeth forth no boring tales of thy troubles. Most others careth not and the rest are glad thou hast them.
7. The singer shalt select the key, an inalienable right.
8. Selecteth not unusual keys lest thy peers mistaketh thy genius for stupidity.
9. Thou shalt pass around the lead. Listening to others will not harmeth thee. Hogging the lead is sinful.
10. Tryeth not for excessive speed, nor yet draggeth slowly thy speed, remembering loudness is the poorest substitute for quality.
The Ten Commandments of Jam
1. Thou shalt not break time, rhythm being the basis on which the session is built, nor shall the bass player ever forgive thee.
2. Thou shalt not stop the session to tune up. Tune thy strings beforehand, but giveth the banjo picker a chance to change keys.
3. Present not thyself in the center of the session. If in doubt, ask who wanteth thy backside in his/her face.
4. Hoggeth not the session. Giveth thy neighbor a chance. Unlikely as it may seemeth, they may be gifted as thee.
5. Forgeteth not to be helpful to the beginner, remembering thy days, yea even years, of clumsiness.
6. Bringeth forth no boring tales of thy troubles. Most others careth not and the rest are glad thou hast them.
7. The singer shalt select the key, an inalienable right.
8. Selecteth not unusual keys lest thy peers mistaketh thy genius for stupidity.
9. Thou shalt pass around the lead. Listening to others will not harmeth thee. Hogging the lead is sinful.
10. Tryeth not for excessive speed, nor yet draggeth slowly thy speed, remembering loudness is the poorest substitute for quality.