Archive for June, 2010

Although there are many folk heroes of the American music scene, Woody Guthrie was a true titan among men. He grew up in dire poverty on the Oklahoma prairie and began collecting the regional songs he heard older people performing. This marked the beginning of Guthrie’s legacy as both a songwriter and a musical historian. He kept many traditional songs from dying out completely over time, using everything from mandolins to harmonicas.

In 1940, he wrote “This Land Is Your Land,” a song that’s still identified with American civic pride. During his later years, Guthrie focused on writing protest songs in response to the social injustices he perceived in the world around him. He also inspired and mentored the young Bob Dylan. Woody Guthrie will forever be remembered for his ability to capture the spirit of the times in his folk music.

A capo is an essential tool for the bluegrass banjoist, but don’t automatically reach for it just because a song isn’t in the key of G.  Remember that a capo is there not to make it possible to play in a given key, but to make it possible to play in a given key in a certain way.  On the bluegrass banjo, the capo’s real purpose is to preserve the sound of open-string rolls in keys other than open G.  These rolls on open strings are indispensable to the driving, traditional bluegrass banjo sound and some material just won’t sound right any other way; I’d be the last one to advocate playing “Train 45” in open B.  But on slower songs, or any material where the hard-driving roll in not necessary, give a thought to tackling other keys without the capo.

Open C is the most common first step for banjo players learning to venture out of the key of G without a capo.  I never capo at the fifth fret to play in C, unless somebody I’m playing with specifically requests it; here I’m thinking of a particular song and my mandolin-playing friend (yes, Joel, I’m talking about you and “If I Lose”!)  Otherwise, the beautiful ring of the first-position C chord, with its rich possibilities for hammers and pulloffs, is the way to go.

Don Reno is the most obvious model for the player seeking freedom from the capo (although, contrary to popular belief, Reno did use a capo at times), but another fine example in this regard (as in so many others) is Earl Scruggs; on the original Flatt and Scruggs recording of “Why Don’t You Tell Me So” in the key of F, Scruggs capoed his fifth string up two frets to A, left the other strings open, and played one of his all-time classic breaks.

Yes, that is how you get to Carnegie Hall.  Practice (or “time on board” to the fretted instrument player–the fingerboard) is necessary if you’re to reach any of your goals as a musician, whether you’ve taken up banjo, guitar or any instrument.  The discipline of practice when playing an instrument should be fun rather than a chore; approaching it with at least a general plan will make your practice time both more enjoyable and more productive.

Start each practice session by getting in tune with a good electronic tuner.  Other tools you should have at the ready include a metronome and some kind of recording device.  The metronome is particularly important for guarding against bad timing; that can easily crop up when playing alone.  Listening to a playback of your practice will make areas of needed improvement only too apparent.

Remember to repeat material you’ve already learned, but keep in mind that one of the most important principles is to “practice what you can’t play.”  It’s easy to fall into the trap of simply playing what you’ve already mastered, since it’s naturally more enjoyable.  But put in time practicing the tunes and licks you’re having trouble with, at whatever tempo is slow enough for you to play cleanly and in time (again, the metronome is essential here).  Proficiency is more important than speed.  Worry about speed last, only bumping up the metronome a few beats per minute once you feel confident at a given tempo.  If you can play as well at the new tempo as you did at the old, great; if not, dial it back and practice again at the slower speed.

Practice, and learning how to practice, is a lifelong challenge!  More later. .

For those unacquainted with the dulcimer, the first line of business is to point out that two distinct instruments carry the moniker. An Appalachian dulcimer, also referred to as a mountain dulcimer, is a stringed instrument that was highly popularized in American music during the 1800s. Typically, the instrument is played by placing it on your lap, allowing for strumming and fretting from that position. While the instrument experienced a resurgence in the 1950s thanks to folk music, it has never been able to garner mainstream acclaim.

The other type of dulcimer is the hammered dulcimer, and it bares little resemblance to its counterpart. While also being a stringed instrument, the hammered dulcimer is a trapezoidal board and played by striking the individual strings with small mallets. Although the origins of the instrument remain obscure, it is believed to be a relative of the santur from Persia.

 

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