View Full Version : The Bluegrass Mandolin Gig Prep-Guide
Mateus
Sep-02-2014, 7:00pm
Hey all,
SO I've been practicing off and on by my lonesome, tried to get a teacher to teach me and have been using different books to help get me to the "next step" on my mandolin-ing journey in the hopes of being able to enjoy what I play and not sound terrible...
Truth be told, some has helped but never really by much. I feel like I'm the one stopping myself here and so I want to push myself further. The "play with others" tip has been resounding in my head lately and so I've gotten together with a guitarist friend of mine, whom I have played briefly with in the past, to try and get a small gig troupe together.
My instructions have been simple: just learn and play the melody to the set songs.
Well I have been attempting that for the past two days and although I know it will be a few more days of melody practice before I get it and can play it smoothly, it's only the basic melody...no embelishments(because I don't know what to use where or how), no rifs or licks(or what have you) and so I'm doubting my decision now...
The guitarist knows my playing ability and my desire so I know its not a question of whether they get what they have been sold on, but more my nerves at being the "anchor" holding our sound back...
Have any of you gigged in such a way before and what do you do to prepare or "pull your weight" when it comes to this sort of thing?
-Matt
Jon Hall
Sep-03-2014, 8:45am
To "play with others" doesn't necessarily mean to perform in front of people which is what I think of when you say gig. Playing with other musicians, in a casual setting, will enable you to play with others, keeping a solid rhythm, playing the melodies accurately and developing your self confidence and the other musician's confidence in your ability. I can't emphasize enough that playing the chords with a solid rhythm is much more important than being able to take a break and play the melody. Preparing for a performance is a lot of work and can be stressful when you're not used to doing it.
John Soper
Sep-03-2014, 11:20am
I play with several different musicians in a bunch of different configurations in different genres- basic to all: you get a chance to play lead when you've shown that you can reliably play rhythm.
Most fun is when you are playing with people who are better than you and that pushes you to improve.
Especially when you're starting out, there is nothing wrong with sticking to the melody, provided you know it well enough to play it with confidence. I've been playing with a band going on 11 years and the melody is still (and probably will always be) my safe place when taking a break.
I find that ideas suggest themselves to me when I'm playing the melody and not trying so hard to come up with some awesome improvisation. Small, simple ideas are fine, when they work it helps loosen you up mentally and often leads to other ideas. Sometimes you have NO ideas but if you stick to the melody and play in the pocket, you're gonna be fine.
The "play with others" tip has been resounding in my head lately and so I've gotten together with a guitarist friend of mine, whom I have played briefly with in the past, to try and get a small gig troupe together.
Might be a little less stressful to get this done by regular attendance at a jam session. That way there is no performance aspect, and there are likely to be other learners, and you can "step up" to the extent you are comfortable.
I guess my other observation would be to adjust your expectations regarding how quickly you progress. Just realize that a lot of work (probably more than you realize) is necessary to master anything, and often you get in a rut or feel that you're not progressing - it happens to everybody.
If you really want to improve, keep slogging.
The other option is to give up. Don't do that, you'll probably regret it. Keep at it, understand that you will need to give yourself some time and devote some effort (and work through setbacks), eventually you'll improve.
It never stops, by the way. No matter how good you get, if you want to get better you will have to continue working at it. Fortunately, the better you get, the more fun it becomes, so the motivation keeps increasing as you journey onward.
LongBlackVeil
Sep-05-2014, 8:10am
yep i agree get yourself to some jams, alot more fun than a gig anyway if you have a good group
Especially when you're starting out, there is nothing wrong with sticking to the melody, provided you know it well enough to play it with confidence. I've been playing with a band going on 11 years and the melody is still (and probably will always be) my safe place when taking a break.
I find that ideas suggest themselves to me when I'm playing the melody and not trying so hard to come up with some awesome improvisation. Small, simple ideas are fine, when they work it helps loosen you up mentally and often leads to other ideas. Sometimes you have NO ideas but if you stick to the melody and play in the pocket, you're gonna be fine.
Also agree with this, the only time i completely improvise away from the melody is when i dont know the tune, and it usually sounds terrible :)
Thats the thing though, you cant be afraid to jump out there and mess up. I know when im improving alot of the times it sounds terrible, but i do it anyway because i get better everytime. I would be a little more nervous in a real gig situation
Maybe I'm the outlier around here, but I find myself much more comfortable at a gig than a jam. I've been playing with the same group of guys, good friends, for 11 years. The songs we do we have worked on diligently, with particular emphasis on the arrangement. I know for the most part what I'm going to play, and know the boundaries for improvising in a given break. Some of my breaks are the same every time, some are different every time. I worked them ALL out ahead of time, sometimes multiple versions that I can "cut and paste" interchangeable parts so as not to have to play the same thing every time. Some day I hope to be able to actually improvise well, but I haven't gotten there yet. But it is the amount of time practicing, both at home by myself and at band practice, that gives me the confidence to step up and play in a gig. That and the fact that we've been gigging at a moderate rate (20 - 25 a year) for a decent amount of time.
By contrast, I don't get the opportunity to play many jams at all, and when I do my comfort level isn't nearly as high as when playing a gig. Most of the songs at jams are different from my band repertoire, I don't really get to practice them, and therefore don't know them as well. So the advice about gigs and jams depends on the person, I think, and their situation.
Mateus
Sep-05-2014, 11:26am
Thanks so much everyone!
Especially when you're starting out, there is nothing wrong with sticking to the melody, provided you know it well enough to play it with confidence. I've been playing with a band going on 11 years and the melody is still (and probably will always be) my safe place when taking a break.
I find that ideas suggest themselves to me when I'm playing the melody and not trying so hard to come up with some awesome improvisation. Small, simple ideas are fine, when they work it helps loosen you up mentally and often leads to other ideas. Sometimes you have NO ideas but if you stick to the melody and play in the pocket, you're gonna be fine.
Tree could you elaborate a little more on this? See, I don't even want to improv anything right now, but I would like to imrpove my embellishing so that it sounds like I'm playing the mando version of the melody and not just playing the notes. And right now that's something I really can't wrap my head around.
JeffD
Sep-05-2014, 11:38am
If you know the melody and the chords - when you play the melody you can use the other notes of the chords as a departure.
If you know the melody and what key it is in, you can use the pentatonic scale in that key as a bunch of "safe notes" to wonder to.
If you recognize the landing points in the melody, practice on your own a few transitions from one landing point to another. Even just going up or down the scale would work. The drama of a good break is how one teases in getting back to the melody. Having some fun flirting and finally landing.
Try stuff like that and see how it feels.
bingoccc
Sep-05-2014, 11:48am
My attempts at ad-libing without going too far are usually sliding into an appropriate note here or there and sometimes hitting two or three strings under a note that naturally seems to fit being accented. The other notes can be an octave or the fifth of the chord if you want to stay really safe. Hitting full chords on the final note of a phrase works. Learning the pentatonics takes it to a higher level.
I've been blessed with a good ear, and I absolutely depend on it to play music. Try to develop your ear as much as possible. When you practice, sing the melody while you play it, if for nothing else to help calibrate your ears, hands and brain to the music. Don't worry so much about embellishing, just play the melody as it sounds good to you. Embellish gradually, as you gain experience and confidence and ideas about what to do. Nobody starts off running, everybody walks first.
Honestly, I don't process a whole lot of theory-related thoughts while I'm playing (I wish I could). Once I really know the song, I don't even consciously process thoughts about the chords, I just play the song. I do try to listen to the whole band, keep myself as tight to the beat as possible, and remember the arrangement and my responsibilities. We all sing, harmony and lead, a couple of us can switch from baritone to tenor or vice versa. We can sort of fill in for each other if someone is unable to sing due to allergies or illness (song selection is critically important in those situations). Only 2 of us take lead breaks, so when it's my turn and I'm having trouble keeping up, I fall back on the melody. Like I said, it's my safe place.
Mateus
Sep-05-2014, 2:36pm
This has been great guys!
But the same question comes back to me: How?
Maybe Its just that I'm a super mathematical/logical person. But you're all telling me to start at A and work my way to C, but I feel like no one mentions what exactly happens/what work is done at B.
Would you guys mind telling me what Step B was for each of you?
See post #12, the first paragraph (skip over the first sentence). That's the best I have.
If you know the key of the song you're playing, learn as many notes of that scale as you can reach in 1st position. Those are the notes you can start to experiment with when you're trying to work out a melody or a break. Try stuff. Make mistakes. Try to remember what you did if something sounds good. Try to do it again. It's really painful at first, or it was for me.
farmerjones
Sep-05-2014, 3:20pm
Step B to me would be hammer-ons and/or pull offs. Also, now that you've mentioned metronome work, shut the nome off and swing it. Also try to phrase your melody notes as you would sing/speak. So that's B subset 1, 2 ,& 3. :)
I totally agree, if you're playing a tune square on the head, it sounds like it. But there's much to be said about paying homage to the tune/melody.
I'm thinking now, M, if you could provide an example of a tune you wish to get better on? (Just a title)These things can be so subtle. So subtle in fact, they may only take place in the players mind. In other words, simply approach a song/tune in a different way. But now the most dreaded subset 4: Most of my inspiration come from out and out boredom. Knowing and playing a particular tune for so many years, it creates a sort of contempt.
Jon Hall
Sep-06-2014, 8:23am
Mateus, I'm also developing my ability to improvise and embellish the melody. I am studying these books, both of which are published by Mel Bay. I can't rush through this material. I study and practice a single lesson until I internalize it and am able to use it playing music.
The Mandolin Picker's Guide to Bluegrass Improvisation MB22086BCD
Developing Melodic Variations on Fiddle Tunes - Mandolin Edition MB98557BCD
Mateus
Sep-06-2014, 3:28pm
Step B to me would be hammer-ons and/or pull offs. Also, now that you've mentioned metronome work, shut the nome off and swing it. Also try to phrase your melody notes as you would sing/speak. So that's B subset 1, 2 ,& 3. :)
I totally agree, if you're playing a tune square on the head, it sounds like it. But there's much to be said about paying homage to the tune/melody.
I'm thinking now, M, if you could provide an example of a tune you wish to get better on? (Just a title)These things can be so subtle. So subtle in fact, they may only take place in the players mind. In other words, simply approach a song/tune in a different way. But now the most dreaded subset 4: Most of my inspiration come from out and out boredom. Knowing and playing a particular tune for so many years, it creates a sort of contempt.
Set list includes the following:
Just A Closer Walk With Thee
Amazing Grace
Leaning on Everlasting Arms
When We all Get To Heaven
STanding On The Promises
Phil Goodson
Sep-07-2014, 7:07am
I don't think I heard what types of music you usually play, but also think about using tremolo even while you play a simple melody.
Just add tremolo for the longer notes. Seems that everybody out there in "music land" expects to hear tremolo when the mandolin player steps up, so putting a little bit in there when you can usually goes over pretty well.
Doesn't have to be fancy and you don't even need any extra notes!:)