Mike Marshall will now take your questions

[Scott Tichenor]

It's time to start in on questions for our fourth interview made up of questions our members will submit, and our pal Mike Marshall (http://www.mikemarshall.net/) has graciously agreed to work with us, so please feel free to ask! Lots going on in his musical life between the classical gigs with Caterina, past work with Thile, Grisman, Darol Anger, Edgar Mayer, his Brazilian group, the Big Trio, the band Vasen, too many to mention, really. And I happen to know that back in his mandolin infancy in Florida (pre-Grisman Quintet), Mike was a member of a band that recorded Fox on the Run not once, but twice. Whoa! :)

Fire away...

Oh, and if you are wondering where we're at with the Paul Glasse and Mike Compton interviews, we're working on them! Paul's answers are in, and you're waiting on us now. Some very exciting stuff there, for sure. Mike's answers are coming in the near future he tells me. These turn out to be a lot of work, but also a lot of fun.

Thanks for your participation and questions.

[AlanN]

Terrific.

Mike, is it considered in poor taste to serve a red table wine with a main course of Cornish Game Hen? :))

Seriously, you've composed so many great tunes, across styles. What goes through your mind when you sit down to write a tune? Do you say "This is gonna be a bop-ish jazz tune, so I want a m7b5 to MAJ7 thing in there" or do you just let it flow and see what comes out?

[JEStanek]

I'll ask, who are you listening too now that really captures your attention?

Jamie

[Steve Davis]

What kind of strings and picks do you use?

[Daijoki]

Hi Mike. If you were a newbie (could pick some standards like Soldier's Joy at 120 BPM and could do SIMPLE improv on, e.g., line endings) and had two weeks break coming up (eat, sleep, play mandolin, repeat), how would you use that time? I'd like a schedule on my desk in the morning ;-)

Seriously, though, thanks for your time and practice advice.

[Jim Rowland]

Mike,this may be silly,but I've always wondered: What is thumbtip to pinkie tip span of your left hand? I enjoy your music in person and otherwise.
Jim

[usqebach]

Mike,

If I may be allowed 2 questions:

1) How do you best accommodate playing the longer scaled instruments tuned in 5ths (mandocello, octave mando) vs 4ths-ish(?) (guitar). Do you still attempt to cover 2 fret positions with each finger, or "cheat" with the 2-3 finger to cover frets 3&4? Is the guitar significantly easier to play in that regard?

2) Without sampling my way through your entire itunes track list, where would you send me to find your best and most favorite mandolin and mando-family work?

Whoops, that was actualy 4 questions.

Thanks!

Jim Sims

P.S. I just got that Violin Shop DVD with Alex Hargreaves and Paul Kowert. What unbelievable talent! Are these guys not the bomb? Paul especially is unreal. Can't wait to hear the CD.

[Ken_P]

Two questions:

1 - What is your approach when working on Bach? I'm working on a few different movements from the Sonatas and Partitas, and there are some places where I feel like I really just need a bow instead of a pick. How do you deal with that?

2 - I've heard you talk about creating more widely accepted formal education for aspiring mandolin students. What form would you like this to take? I think it's a fantastic idea and would love to be involved somehow if I could.

[Ryk Loske]

Mike,

First off, thanks for the phrase: "The cheese is finally off the cracker." That gets used alot around here; and the cooking tips.

What's the most common mistake you see mandolinists and guitarists make?

Thanks,

Ryk

[Dan Hoover]

thank you Scott...1) What's your favorite comfort food?and is there a favorite comfort song that would go along?
and 2) What's next?you've covered so many style's and genre's,producing,instrument's..is there something you've been wanting to do,someone you really want to collaborate with,but just hasn't happened yet?

[Bigtuna]

When are we going to hear some material written and preformed on your new Smart 10 string mandolin?

[jaco]

What do you play for your own enjoyment?

[MANNDOLINS]

How do you know where to put your fingers?:confused:

[Larry S Sherman]

Hi Mike,

I'm consistently impressed by the twists and turns of your career...always amazing!

I was wondering how you approach improvising on a Choro tune? I was under the impressions that Choro improv was more about stretching the timing, or maybe substituting a phrase here and there, but you and Ham go completely nuts on the Choro standards.

And while we're talking Choro, do you think that your Bluegrass/Dawgrass background helped you approach Brazilian music, or do you find it closer to Classical? Do you use pentatonic scales and blue notes, or are the genres completely separate in your mind?

Keep up the great work, and thanks especially for your series of books...they're all fantastic!

Larry

[coolwood]

When playing in support of other guitars and singers, I find that the mandolin sometimes takes the lead, but at other times provides harmony and ornamentation. The mando is the icing on the cake. I have to resist the temptation to fill in all the voids with something, because sometimes silence is just as impactful.

With that said, what do you do when playing is support of others? Can you provide some specifics advice or tips?

Thanks for taking my question.

[re simmers]

Hi Mike,

I've played mandolin for about 25 years. I play by ear, and I can read tab. My wife plays 'string bass' and can play anything by note. She has played chamber music here, and has toured in Europe. I have taught her to play real music.....bluegrass(ha!), and she now plays by ear as well as by note. She, of course, can play with the bow or pizzicato.

I would love to learn to play some symphonic music with her. Can you recommend some cd's or dvd's or tab of some of the more familiar (but less complicated) symphonic music for me to learn? I need to start with some easy stuff. I'm not going to learn to read notation at the age of 50.

Thanks very much,

Bob

[Wesley]

Like Scott I had a chance to see you perform in the pre-Grisman days in Florida. And I could swear that I saw you play a 5 string banjo. But there's been a lot of bourbon and water under the bridge since then - so did I imagine that? If not - do you still play the banjo? And have you ever been tempted to try your hand at learning a non-stringed instrument?

[Keith Erickson]

Scott,

Thank you so much......

2 questions if I may?

#1 Would you mind sharing with us how you stumbled upon the mandocello?
#2 It seems to be the mandocello is picking up in popularity. Where do you see the mandocello 5 years, 10 years and beyond?

[Rick Schmidlin]

Mike you have played and recorded with so many greats, who are you favorites now and then?

[Chuck Ficca]

Mike,

When are you going to publish a mandocello method book?

Chuck

[Daniel Nestlerode]

Coriander, cardamum, or whole cloves?

:)
Daniel

[Baron Collins-Hill]

Similar to an above post about mandolins and formal education, I am currently doing a self designed major at college that is centered around your kind of music.

1.) If one were to come up with a blanket term to describe the music of you and your contemporaries, what might it be? bluegrass, newgrass, progressive bluegrass, new acoustic music? I feel as though a lot of names are thrown around that are either too vague or to specific to really catch hold of the instrumental bluegrass ensemble that doesn't play straight ahead grass and branches into jazz, Choro, rock, etc. etc.

2.) Seeing as I am trying to center my education around this above mentioned kind of music, I have been relying heavily on albums, live concerts, and the rare internet article or interview. I feel as though beyond Monroe, there aren't any real tomes of information about all you great musicians that have been doing crazy for decades. Is there anything out there that I am missing? Any suggestions that may help me further my education in the field?

Thank you so much for your time and music,
Baron Collins-Hill

[ApolloPicks]

Do you ever get bored of making music.

[Rob Fowler]

Mike,
You've OBVIOUSLY got a very distinctive sound in your mandolin playing but how have you integrated that "swip, swip" sound (your characteristic light brushing of the pick against either of the lower strings in between actual notes)? Is it something that came natural in your everyday playing or is it something that you consciously worked on to develop?

Also, do you go through more picks due to this sweeping technique?

You da' man!:cool:

[f5loar]

What no Loar questions yet? Tell us about your battered and tattered worn Loar. When did you get and do you know any history on it? Has it had an modifications done to it over the years? Why do you like it so much over other mandolins you have played?
What is the significance of the pink flamingo in your life?

[SternART]

Gator,
You seem to be the ultimate duet player....you have big ears, lightning fast connection between what you hear, processed through your brain, and to your fingers....and you've paired off over the years with the likes of Caterina, Hamilton, Chris, Edgar, and Darol.......top drawer musicians, across many genres of music. Are there any living musicians on your wish list to play duets with.......and here is an interesting variation.......what historical musicians do you see yourself jamming with in your dreams?

Thanks for the inspiration!
Arthur Stern

[Marcus CA]

Mike,

When are you going to publish a mandocello method book?

I second that emotion! Be sure to include your typically wide variety of tunes, as well. :mandosmiley: (Is there a mandocellosmiley???)

[chasray]

Mike, if you could go back in time and talk to yourself when you were a young teen, what musical advice would you give yourself to save you some struggles or wasted time?

[Jonas]

A few questions from the north of Sweden:
I understand you are involved with the Swedish folk band Väsen (they are like the Dream Theatre of Swedish folk music - I mean that in a good way).
- How do you feel about Swedish and Scandinavian folk musik?
- What have you learned when playing this music, and with Väsen?
- What do you think is the biggest difference between Swedish and American folk music, and what is the biggest similarities? Is there a common ground?
- Is it hard to find a place for a mandolin in Scandinavian folk?

[Fretbear]

Was "Gator Strut" recorded before or after John Monteleone re-graduated your Loar?

[Sadee]

Mike - how do you like your new Altman? And how does it compare to your fabulous Loar?

[Bob Andress]

Mike, if you could go back in time and talk to yourself when you were a young teen, what musical advice would you give yourself to save you some struggles or wasted time?

Hi Mike. Can't wait to hear the answer to the above question.

But also..

Who might we see pop up on the surprise guest list at next years Symposium? See you soon!

Bob

[William Grant Macdonald]

Please outline your interests in creating educational forums and related opportunities that span various kinds of music.

[Pete Counter]

Mike, thanks for all the great music and setting the bar so high first of all. We have been have some discussion on the idea of action vs tone and playability. There are those who crank the action up to get volume and others who keep it on the low for playability. What would you say is your stand on this and where do you keep your action?

[DougC]

So many questions! Don't know how you'll get to all of them but my question is: Do you see any change in the relation between 'music camps' and music schools in America? A couple of years ago ASTA (american string teachers association) had a symposium in Detroit for all of the 'crossover' classical / 'alternative' folk styles. It was for violin family instruments but I think mandolin seemed popular there too. A few schools understand the need but I was wondering about the school / camp connection.

[Steve Gorman]

Mike,
Please give me your single most effective practice exercise currently in your line-up.


I practice in 15min segments focusing on
15m right hand cross-picking patterns (constantly trying to dream up new pattern)
15m right hand single string tremolo/string changing/speed (need new patterns)
15m closed position scales in 3rd pos (major keys only for now)
15m closed position scales in 2nd pos (major keys only for now)
30m closed position scales in 1st (major keys only for now)

I play choro/bach during the day for melodic learning and form/style/etc.

Finally, please tell us in your opinion is the right the most important factor in mandolin playing?

I am sure you don't realize it but you have been one of the most important people in my musical journey. Thank you and if you ever need anything, just say the word.

The word = rumpelstiltskinsmandolin

[Jim Roberts]

Mike,

While performing, what adjustments do you make (or how do you compensate) when you are in the middle of a song and one string of the pair goes out of tune?

[2poor4Loar]

I am newly fascinated by classical mandolin. I am a proficient player and sightreader but not a very good arranger. I cannot seem to find many collections of solo classical mandolin pieces here in Canada. Where should I be looking? My taste is Fernando Sor, Tarrega, Bach, pagannini (sp). Your guidance would be appreciated.

[Don Stiernberg]

Dear Mike,
Echoing everyone else here-your eclecticism and musicality are astounding and inspiring.

About the "mind" part...how would you describe the thought process you use when improvising?
It must be different genre by genre...?

How do you keep track of the musical languages of so many disparate styles?

Do you have any patterns, processes or tricks to share regarding the memorization of music? Some of us have trouble playing something "the same way once". With the classical repertoire you do, how often do you play from memory, how often reading off the page?I've seen you do both...always amazed along the lines of "how does all that fit in there along with a gazillion choros, every fiddle tune,Nordic dance music, and so on..."

When playing chordal backup on a choro or a jazz tune, your chord voicings are never static, but rather flowing from one voicing to another, yielding a constant feeling of propulsion. What are you going for there--certain movements of inversions? Response to the melody or solo? Rhythmic or stylistic concerns?Dinner menu?

Thanks to Scott and Ted for presenting these brainpicking sessions. And of course thanks Mike, for everything, especially all those soulful notes you play.

your fan and friend,
donnie

[Ted Eschliman]

Mike, I love the breadth of styles you've tackled within the multi-decade span of your career, but I was wondering, do you think the variety ever works against you in achieving commercial success? I ask that as a consumer, it's hard to know where to find "Mike Marshall" in CD stores; he's Choro, Jazz, Classical, World Music, New Age, Bluegrass, Newgrass, New Acoustic, and any number of genre incarnations. I think of the musical icons and how one-dimensional they are, Elvis, Michael Jackson, Pavarotti, and even Bill Monroe. They remain broadly popular because they've done "One Thing" better than anybody, and it's their singular signature. You do so many things well, but you'll never achieve the popularity of the aforementioned, simply because you refuse to limit yourself. Just how does one with immortal talent like yours want to be remembered by us mere mortals?

[Tbone]

I'd like to hear Mike's thoughts on developing a clean consistent tone, and thoughts on improving tone. Where does good tone come from?

Also, I've been working with the Fingerbusters book for a couple years now. I typically play though it to get warmed up. What specifically should I be focusing on while playing these exercises?

[mandopete]

Hiya Mike,

Can you talk about what it's like to work with young musicians like Alex Hargraves and Paul Kowert (Big Trio) ?

Pete

[fishtownmike]

Mike how come I'm not as good as you? We have the same first name. Shouldn't that mean something?...Mike Shaw

[bratsche]

Mike, did you compose the bass line for the Bach Gigue in D minor that you played on mandocello with Caterina? If so, have you done more of this (creating duos from solo Bach works)? Is there sheet music available? I would buy it! :cool:

[drewgrass]

dear mike some times (ok alot of times) i like to relax have some wine and just play for no other reason but relaxation. and seeing what comes of it most of the time i get a good little riff or melody.(or at least i think i do. just may be the wine) due to your food and wine background. and the fact you have a disc called Tasting the Wine Country. what do you like to have a glass or two when just kicking back and pickin. seems like mandolin and wine go together very well. so mike what wine will make me a better mandolin player. who cares about picks a strings. thanks drew

[ralph johansson]

I consider Wine Country to be one of the true classic CDs in the New Acoustic field. How did the collaboration with Paul McCandless come about?
What are your thoughts in general on the use of horns (soprano sax, oboe, cor anglais) and piano in (otherwise) string band music? Possibilities, limitations?

Another classic (-to-be) is Big Trio. I'm curious about the arrangements. Did you bring charts or were they worked out collectively?

[danb]

I believe you have a fairly interesting virzi-ectomy story. Could you share a bit of it?

[Stephen Lind]

What's David Grisman REALLY like?

[Perry]

Hi Mike

I'm a fan of your guitar playing as well as your mandolin family playing abilities. How does your guitar playing inform your "fifth tuned" playing and vice versa? You use some really nice guitar voicings; are they guitar versions of mandolin type chords?

Maybe more importantly how about a quick, easy, killer pasta recipe we never heard of?

Thanks!
Perry

[Scott Tichenor]

Sorry, I should have let everyone know I turned in the questions about a week ago and Mike is already working on them.

[usqebach]

You mean Mike Marshall's not on the "Cafe" daily, reading along as the questions come in?

Aww, man......

He's probably practicing, performing, ..... or cooking something!