Bet advice i ever had

[Givensman]

"Keep your right hand closed". Big Mon did it. "Don't let your fingers rest on the top....or for that matter....don't even let them touch the top". It seems to me that most of todays players don't worry about the closed fist attack. Does it matter?

"Why are you strumming down there? There's not any strings down there!" "Fanning", as I call it. Most of the time, this is a usually guitar playing situation. Is it wasted motion?

"Keep your fretboard fingers close to the strings". Don't let your fretting fingers flail around. Be compact, and don't waste motion.

"Hold the pick between the crook of your index finger and your thumb....and parallel to the strings".

And so on......and so forth.....

[jasona]

Single biggest tip for me was from Andrew Collins, who taught me pick direction. Down on the downbeats, up on the up beats.

[JEStanek]

When you flub a note, don't go back to get it correct. Breathe, relax. These are very basic fundamental musicianship bits but, I still need to remember them. I got these from Mike Miller.

Jamie

[jaco]

The best advise I've had regarding technique is "do what works best for you".

[Mr. Loar]

Confidence is everything. Every time you hold back because you're not sure of something, you'll screw it up.

[Crowder]

When learning something new, learn it slowly and perfectly, with attention to tone and technique. Then bring it up to speed gradually. As soon as you start to feel tension or begin to make mistakes, or your tone suffers, bring the speed back down until you're ready to move forward again.

[Cullowheekid]

"Play it straight."

[TomTyrrell]

The best right-hand advice I've seen is from John McGann.

Here's his entire discussion (http://www.johnmcgann.com/techtips.html)


My favorite parts:
"BALLING YOUR HAND INTO A FIST will create tension and limit mobility and the ability to generate a rainbow of tone colors. ... The fingers that aren't holding the pick should feel 'numb' and relaxed, they will curl about halfway to the palm. ... Tension is the enemy!"

[MLT]

"Don't think about it--just do it".

[Fretbear]

If it doesn't feel easy and relaxed, adjust whatever is required (notes, position, attitude, musicians) until it does.

[mandopete]

"To thine ownself be true.
- William Shakespeare (a fine old English picker 'tis true!)

[lespaul_79]

"It don't mean a thing, if it ain't got that swing".

And play/practice with CD's/songs. Grisman probably played along with Monroe songs. George Harrison played along with Carl Perkins songs. Clapton played along with BB and Freddie King songs. It's a proven formula and a great way to explore and see what works for you.

Oh... and always tap your foot. It will loosen you up. And if you're foot's a tappin', chances are, someone in the crowds will feel the groove.

[John Rosett]

"Pick it purty."
-Jethro

[allenhopkins]

Not to quit my day job. Various sources.

[Pete Martin]

Spend a percentage of each practice playing VERY slow and VERY accurate. Got this from a sax player just passing by while I played on a park bench one day.

[MikeEdgerton]

Son, don't put your socks on over your shoes.

Actually the best advice I ever got for playing mandolin was "Just step in and take a break. If you blow try to do better next time."

[Jim]

Not to get a day job!

[Rick Schmidlin]

Put passion in you musical approach....and I said that.

......oh, and practice three hours a day and McCoy Tyner said told me that.

[elvisNoir]

this is from a notable jazz player, whose name I forget:

"There is no such thing as a bad note, just bad resolution (from that note)"

so I suppose you can just ignore your flubs and move on, or incorporate them, and maybe find something interesting for yourself

[John Rosett]

This is from a pedal steel book written by Rusty Young.
"If you hit a bad note, glare at the bass player-everybody will think it's his fault."

[MikeEdgerton]

This is from a pedal steel book written by Rusty Young.
"If you hit a bad note, glare at the bass player-everybody will think it's his fault."
By the way, that does work.

[lmartnla]

You'd better put your mandolin away, there ain't no money in it and it'll lead you to an early grave. (Clayton Delaney via Tom T. Hall, paraphrased)

[Don Christy]

"Practice makes permanent" (as opposed to practice makes perfect). I think it was Mike Compton I heard that from. Another reason to play slowly and accurately in order to be able to play fast.
Don

[Doug Edwards]

Leave it in the closet for two weeks...then sell it. Didn't listen, trying anyway.

[SGraham]

"Don't stop on the freeway." If you mess up, just keep playing as if you did it right. My banjo-picking friend told me that 15 years ago.

Steve

[Steve G]

"Don't tense up, pickers are relaxed" - Jack Tottle
"If you don't know your horn during the week, it won't know you on the weekend" - Dizzy Gillespie

[Mattg]

Listen

[Jim Broyles]

The best advise I've had regarding technique is "do what works best for you".
This would seem to be the "music as art, freedom of expression tack," but I disagree. If you have become comfortable with poor technique, it will "work best for you" now, but it won't really work best for you in the long run. It is always better to learn good habits early than to try to unlearn bad habits later. For example, planting a finger on the top may work best for you now, but it is not the way to optimize your tone and volume, or your speed for that matter. It is far better to learn and become comfortable with proper technique than to try to change old habits later on. I firmly believe that "do what works best for you" is bad advice for a musician.

[JGWoods]

After fumbling 3-4 songs we hadn't practiced enough someone in the audience said "Play one ya Know"

best advice I ever got.

[groveland]

Like the pros, be sure to take the time to make the "ugly face" during your solos. No matter how dubious the quality of your performance, folks will hail you for playing "with so much feeling."




http://www.mandolincafe.net/iB_html/non-cgi/emoticons/biggrin.gif

[auteq]

"Don't start a land war in Asia", but only slight less famous once you learn a tune play it with your eyes closed w/o looking at the fret board.

[Gerard Dick]

Play through your mistakes as if they were intended. The listeners may only catch 1 out of every 10 that way. A wrong note played tentatively is a wrong note. a wrong note played with confidence is interpretation.

[mandogrrl]

John McGann told me to keep my fingers apart on my left hand when I play.

Sam Bush told me to remember to breathe when I take breaks.
No wonder I was getting dizzy. http://www.mandolincafe.net/iB_html/non-cgi/emoticons/wink.gif

[TomTyrrell]

I don't remember the exact quote but it went along the lines of "If you don't break the rules you'll be just like everyone else."

[chip]

Don't quit your day job....

[JeffD]

Confidence is everything. #
If you can fake that, you have got it made.

[Ted Eschliman]

"In theory there is no difference between theory and practice... In practice there is." Yogi Berra

[fredfrank]

For example, planting a finger on the top may work best for you now, but it is not the way to optimize your tone and volume, or your speed for that matter.
Whenever I hear this, I like to think about Adam Steffey. He also avoids using the little finger on his left hand as much as possible.

I know he may be the exception to the rule, and following a bad example of technique might not work as well for everyone, but you can't deny--it works now and then.

[mandobsessed]

This wasn't told to me but I say it to everyone. "Whatever you do, have fun!!"

[John Soper]

From Mike Neer: "Play your break as if convicted!"

Best-http://www.mandolincafe.net/iB_html/non-cgi/emoticons/biggrin.gif

[Don Christy]

For example, planting a finger on the top may work best for you now, but it is not the way to optimize your tone and volume, or your speed for that matter.
Whenever I hear this, I like to think about Adam Steffey. He also avoids using the little finger on his left hand as much as possible.

I know he may be the exception to the rule, and following a bad example of technique might not work as well for everyone, but you can't deny--it works now and then.
Have you seen his hands? They are huge.

[sunburst]

"...just play the melody..."

[Fred Keller]

2 pieces:

1. Can't remember who told me this, but the notion stuck. "Musicians are fundamentally lazy creatures" meaning that I shouldn't try to pick things the hard way. Don't jump around if you don't need to; find a position that fits the tune and don't worry if it isn't flashy.

2. Corollary to #1, this from Peter Ostroushko: All the notes you need are right there in first position.

[swampy]

"...just play the melody..."
Amen!!!

[Kbone]

The best advise I've had regarding technique is "do what works best for you".
This would seem to be the "music as art, freedom of expression tack," but I disagree. If you have become comfortable with poor technique, it will "work best for you" now, but it won't really work best for you in the long run. It is always better to learn good habits early than to try to unlearn bad habits later. For example, planting a finger on the top may work best for you now, but it is not the way to optimize your tone and volume, or your speed for that matter. It is far better to learn and become comfortable with proper technique than to try to change old habits later on. I firmly believe that "do what works best for you" is bad advice for a musician.
I knew this was coming & in most cases I'd agree, but sometimes the *perfect* tech doesn't work for all. I guess Jimmy Gaud....(s?) comes to mind, Sam Bush, Jesse, & countless others who don't use a real stiff pick or have a three finger grip, or a pinch like Wayne Benson, or a plant like Adam Steffey (s?)& others. JMHO. http://www.mandolincafe.net/iB_html/non-cgi/emoticons/smile.gif

[yoshka]

"Pick your gigs"

[gnelson651]

For example, planting a finger on the top may work best for you now, but it is not the way to optimize your tone and volume, or your speed for that matter.
Whenever I hear this, I like to think about Adam Steffey. He also avoids using the little finger on his left hand as much as possible.

I know he may be the exception to the rule, and following a bad example of technique might not work as well for everyone, but you can't deny--it works now and then.
Have you seen his hands? They are huge.
Exceptions will work for the exceptional. For the rest of us, doing it right technically is the best way to start.

This reminds me of coaching softball. How many times do I see a girl come up to bat with her hands way over her head, trying to bat like Derek Jeter. What these kids don't know is if you watch Jeter carefully, he drops his hands in the proper position before hitting the ball. I emphasis to these girls the importance of developing proper machanics before trying to imitate their favorite pro-ballplayer.

The same applies to other endeavors, including music.

[Hondo]

Slow down! If you can't play it slowly, speeding up isn't going to improve it. - My wife

[hoffmannia2k7]

After he put his hammer down after ripping the locks off my friends new banjo case.

"Never lock an instrument case"

from frank wakefield

from Phil Watson, a new england fiddler.

"Try to make it sound as good as it feels"

my favorite!

[Nolan]

Bite your lower lip, raise your eye browse or wipe your forehead during your break to make it look like you're really working HARD! # It works, for some reason audiences think whatever you are doing is incredible. #

Oh yeah, play one simple lick over and over again... after the the 10th time through you'll start getting applause for some reason. #I'm not sure why but people think it's really hard to play easy licks over and over again. #Once you go back into some really cool flowing break the applause end. #Go figure?

[fatt-dad]

To play fast, practice slow.
Don't forget to breath.
It ain't a competition.

There's a few bits of advice that's helped me.

f-d

[farmerjones]

i like the Charlie Parker quote that ends, " . . forget all that and just play." #

i do like "don't stop on the freeway"

[Paul F]

This, backstage, from John Fahey, gesturing with both hands to a young guitarist's lower abdomen: "Play frome here."

[bgjunkie]

I got a great tip from my wife, "Don't show the audience you made a mistake, chances are they don't know." I used to have a bad habit of shaking my head or making a face when I would flub a note. It took my wife to remind me that unless it is a complete train wreck, most people won't notice.

[dmamlep]

some of the best I have heard, was right here on cafe. can I have a little more tallent on the monitors please., be yourself everyone else is taken,.. and my wife says I dont listen to her, or whatever she said. something like that, not word for word. just my 2cents.

[Jim]

"Don't follow the lights."
Gollum

[JimRichter]

Told to me by Butch Robins: The Music Doesn't Stop.

Basically, play through your mistakes.

Jim

[UnityGain]

Play with your eyes closed.

Its daunting at first, because even the smallest misplaced fretting can prevent a clean note. But what you get is REALLY hearing yourself play and those around you play. When you hit the right note, you know it beacuse you hear it and feel it, not because you see your finger on the right fret. Its helped me a lot recently.

[Chip Booth]

The best picking advice I ever got had nothing to do with music. I was getting constant foot cramps in my new ski boots and went back to the store to check the fit. They checked, and decided that it was my technique that was causing cramps. I wasn't skiing relaxed and flatfooted. I figured out how to relax and keep my weight flat and the cramps went away for good. Later that year I was playing a gig and could not pick for anything. I was uptight, and nothing I did to my hands or shoulders would relax me. Eventually I figured out that it was feet that were stressed, so I put my weight flat on the floor and felt all the tension leave my body incluing my hands.

Over the years I have extended this idea, and I look for tension in other areas, such as my back, shoulders, neck, jaw, lack of proper breathing, etc. It all effects our ability to play smoothly.

In short: relax!

Chip

[Steve Ostrander]

I'm curious, can anybody tell me why you should close your right hand and hold the pick that way? Is it for tone, or speed, or both? Or what?

I'm not disputing, I'm just curious.

[Fred Keller]

"Don't follow the lights."
Gollum

--------------
Jim Richmond

I'm not a big Star Wars fan, but another fictional character's advice has honestly helped me: "There is no try, only do" --Yoda

Oh and Mad4mandos: The closed fist (loosely closed, not tightly clenched) is the most relaxed position anatomically that your right hand can have. Relaxation allows one to play music as opposed to notes.

[Ken Olmstead]

Chip, you are so right! After 20 years of playing instruments, I still have to remind myself to relax into it!

[gnelson651]

In a BG jam situation, listen to the singer, then play your break imitating the singer.

[Chip Booth]

#"There is no try, only do" --Yoda
Fred, you left out the rest of the quote.

"Do or Do not. There is No Try."

Unfortunately I "do not" as often as "do"! #http://www.mandolincafe.net/iB_html/non-cgi/emoticons/tounge.gif

Chip (a Star Wars fan)

[mandocrucian]

Ian Anderson wrote this one way back on Jethro Tull's Benefit album in 1970, I guess in reaction to the British music press and celebrity interviews (including those of himself). I used to think it was kind of a snotty song, but now..... I quite like it.

Nothing To Say
Everyday there's someone asking what is there to do?
Should I love or should I fight - is it all the same to you?
No I say I have the answer proven to be true,
But if I were to share it with you, you would stand to gain and I to lose.
Oh I couldn't bear it, so I've got nothing to say.
Nothing to say.

(excerpt, 2nd verse)
So don't ask me will I explain, I won't even begin to tell you why.
No, just because I have a "name", well I've got nothing to say.
Nothing to say.

(excerpt, 3rd verse)
So ask of me no answer, there is none that I could give you wouldn't find.
I went your way ten years ago and I've got nothing to say.
Nothing to say.

Jethro Tull Discography with lyrics, 1966 - 2004 (http://www.collecting-tull.com/Albums/Discography.html)
- - - - - - - - - - - - - -

And , oh yes.... from the movie Jerry McGuire: "SHOW ME THE MONEY!" #http://www.mandolincafe.net/iB_html/non-cgi/emoticons/laugh.gif

NH

[MikeEdgerton]

Told to me by Butch Robins: #The Music Doesn't Stop. #

Basically, play through your mistakes.
Amen.

[Ken Sager]

I like digesting quotes from famous musicians and making them my own personal advice.

"Music is your own experience, your thoughts, your wisdom. If you don't live it, it won't come out of your horn." - Charlie Parker

"Do not fear mistakes. There are none." - Miles Davis

"Don't play what's there, play what's not there." - Miles Davis

"Sometimes you have to play a long time to be able to play like yourself." - Miles Davis

"Don't play the saxophone. Let it play you." - Charlie Parker (Substitute mandolin for saxophone...)

"You've got to learn your instrument. Then, you practice, practice, practice. And then, when you finally get up there on the bandstand, forget all that and just wail." - Charlie Parker

My Favorite and one I wrote down at the first mandolin symposium:
"There is great power in holding power in reserve." - Mike Compton

[fiddlersgreen]

Some under appreciated advice that many good players have told me:
Practice with a metronome. It really helps. Start slow and ratchet up the tempo until you're playing faster.

[Jason Holmes]

Get up early if necessary, and get some playing time in before heading off to work/school/etc. It starts each day on a good note, plus if it turns out you don't have any more time later in the day, you've already had some playing time.

[BlueMountain]

Not an exact quote, but last year at the Monroe Style Mandolin Camp, Mike Compton said to us, essentially, "Stop trying to play so fast and instead focus on bringing out a song's beauty." (I suppose that resonated with me because I'm not a very fast player.)

[Jim MacDaniel]

Switching to a "pointier" pick with a pronounced bevel brought about my biggest improvement in speed (and tone) in years.