Monday Night Workshop Supplement- Mandolin Encouragement

Bluegrass, a mandolin lesson

 

One day, it just happens. You decide you really

want to play the mandolin, and maybe you want to

play really well. Or maybe you just want to play

well enough to enjoy playing by yourself or with

some good friends. Maybe you'd like to step into a

jam session at a festival.

 

Lets take bluegrass. "So you there, Mandolin Cafe.

What makes you so darn smart enough to think you

can give a lesson?" Fair question.

 

In 1985 my band "Last Kansas Exit" won the SPBGMA

National Bluegrass Band contest in Nashville. There

were almost 60 other bands. We were too modest to

think we'd win. The band was Mike Allen on banjo and

vocals (1986 National Banjo Champion), Barb Hudson on

lead vocals and guitar, and Ronnie DeLancey on acoustic

bass with me holding down mandolin and vocals.

 

I learned a lot of lessons in that band and many, many

others. What I've learned I'd like to share. Bluegrass is

a big part of my "roots." I hope what is presented here

will help you develop your playing. Enjoy.

 

 

"There ain't no kind of music in the world like

bluegrass music."

       -- Bill   Monroe

 

Make a Smart Start!

 

"I can always tell a musician who has listened to

the real stuff.

Flatt & Scruggs, Monroe, Stanley Brothers, Jimmy Martin.

        -- Tony Rice

 

Tony wasn't the first one to make such a statement

and won't be the last. Look around at the mandolin

players we dig and you'll see all were rooted firmly

in an earlier tradition. Jethro knew 30's jazz.

Grisman and Bush can play Monroe note for note. So

can Ricky Skaggs and Doyle Lawson. Evan Marshall has

studied Dave Apollon.

 

But herein lies one of the biggest problems with

learning to play mandolin. It's easy to think that

old stuff isn't cool. After all, the recording

quality is bad, sometimes the boys sounded a little

weary . . . we get turned onto the music by a modern

group and then spend months (maybe years) trying to

use them as our model. That's OK but there's wisdom

in study of the old stuff. Ever wonder why most of

those Grisman wannabe's don't sound like him? They

haven't studied Monroe, a strong part of his

influence.

 

It's not a guarantee of success but studying the

masters is a sound start. With busy work schedules,

families and other time drains, the best thing you

can do is to get some good brain food for your ears.

Listen to some of the right stuff and listen

carefully. There's magic in Monroe, Stanleys, Jim

and Jess, Flatt & Scruggs, Osborne Brothers, Louvin

Brothers and others. If it's good enough for Sam

Bush, Grisman, Doyle Lawson, Butch Baldassari, Tom

Rozum (there are many more), it's good enough for

the rest of us.

 

 "He really didn't need lessons, but there

 was something missing in his playing. I

 suggested he sit down and work the Scruggs

 book. You know the rest . . . "

 

- Tony Trischka talking about giving a

banjo lesson with a very young Bela Fleck

 

So this doesn't mean you should throw away those new

CDs. The more you can listen to the better. But if

you really want to put some soul and power into your

playing here are some suggestions:

 

1. Make every third or fourth CD you buy one of

   the "classics." There are terrific new CD

   releases of the oldies with great old photos

   and history. Some of those gems are available

   for a steal in used record stores.

2. Pick one tune off of something like "The

   Bluegrass Album Band" recording and then seek

   the original by a Jimmy Martin or Flatt &

   Scruggs. It's cool.

3. If you're lucky enough to have a local NPR

   station with a good collection and an on air

   show, call in and request those old recordings.

 

The road to success starts with an educated ear.

Listening to and learning the early material

provides a road map to the music. Give the classics

a good listen and you'll have a lot better idea of

what's going on in today's bluegrass.

 

"It's the hardest music in the world to play."

        -- Ralph  Stanley

 

Play Along with the Recordings

 

Seem like a stupid thing to do? I get endless

requests for "which is the best video," or "what's

the best book to buy?" Hey folks, I'm here to tell

you there's no substitute for putting on the CD's,

tapes or records and trying to play along. It's

great for your timing, good for your ears (and

hands), and forces you to really LISTEN. Until you

get the sounds in your head you'll never be able to

play them on your instrument.

 

I'm not saying books and videos aren't good. I'm

saying there's no substitute for playing along with

(and listening to) the good material. Just don't get

caught dancing around by your friend or spouse in

front of a mirror imagining you're on stage at

Winfield. Some of you know exactly what I'm talking

about. Of course, I never did anything like that...

 

The Big Three!

 

G, C & D Chop chords. So named because the mandolin

serves the purpose similar to a drummer in a

bluegrass band by playing a percussive "chop" chord

that falls on the 2 & 4 beat. The bass plays on the

1 & 3 beats and combined you've got the basis of an

acoustic snare and kick drum!

 

These three chord "positions" form the basis of

literally thousands of songs. They are the universal

chord fingerings in that they're moveable up and

down the neck and create other chords. Learn these

three and you can easily move them up to play in the

keys of A, Bb, B and C.

 

The "G" chop chord is the hardest chord to learn

when you're starting out. The first time I made that

chord I looked at the person showing me and said

something like, "you're kidding, right?" Well, it's

a good starter because once you get that and the

four-finger "D" chop chord you've done the hardest

chords there are in my opinion.

 

If you don't already know, the

fingerings for the chords lie below

the chord diagram. Many people have tried these and

have problems with them. Don't get discouraged. If

you're having problems moving between the G and D,

try this: leave the pinky PLANTED when changing

chords. G and D share the same note. A good rule is

"never lift a finger unless you have to."

 

I could put a sound file out here to demonstrate but

any good bluegrass recording should have that

percussive "pop" of the mandolin on the 2-4 beat. I

did tell you to play along with recordings didn't I?

 

So How Do You Get the "Chop?"

 

Good question. Many people try to hold the strings

down on the frets all of the time like you would on

a typical guitar strum. DON'T! It's far too much

work. The chop works like this: as you are moving

the pick towards the strings to strike them, your

fingers should be "resting" on the chord you're

prepared to play. Before the pick strikes, quickly

depress the strings and let up as soon as the pick

strikes all of the strings. In other words you're

quickly dampening or muting the chord once it is

played. Your ability to cut off the ringing sound

defines the amount of "pop" sound you want.

 

Be aggressive! Most people are afraid they'll make

too much noise. I'm here to tell you that with a

guitar, banjo and bass there's not a chance in hell

you'll be too loud. But remember, it's not loudness

but "quality" that matters. However, you have a role

to contribute and you can't do it unless you're

heard.

[G, C and D]

 

This Lesson Lasted Too Long

 

OK, ya get what you pay for.

 

Here are 10 good basic beginner tips to go home

with.

 

1.  Buy an electronic tuner to keep yourself in

    tune but practice tuning your mandolin on your

    own. Your fellow musician friends will thank

    you.

2.  Use good strings and change them once a month!

    You change the oil in your car don't you? Dull

    strings are hard on fingers and are hard to

    keep in tune.

3.  Try to play with people who are better than

    you. It's a great learning experience. If

    you're better than everyone--congratulations.

4.  Keep your frets in good shape. If they have

    deep grooves in them, it's time for a visit to

    the shop.

5.  Don't get caught in the speed trap!!! Too many

    beginners ruin their technique by trying to

    play too fast. You'll develop bad habits in

    doing so. Do yourself a favor and give yourself

    some time!

6.  Practice playing as slow as possible but with

    the best technique you can muster. Make your

    instrument sing!

7.  Experiment with different weight picks and

    don't let someone tell you there's one best.

8.  The world is full of "experts" who want to

    teach. Take everything with a grain of salt and

    apply it to your playing (including my

    comments).

9.  If you're already learning lead lines, make

    SURE you are playing downstrokes "on the beat"

    and upstrokes "off the beat." This is the one

    bad habit that is hardest to break. If you

    don't know what I mean, ask someone who does.

10. Listen to ALL styles of music. There's

    something to be learned in everything you

    hear.