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(Tips, Tricks, & Techniques provides how-to information about folk music and other topics. The main Tips page contains a list of additional tips.)
JAMS,
SONG CIRCLES, AND MUSIC PARTIES I started this series of acoustic music tech tips from the standpoint of beginners and newcomers needing to get started writing and playing in public. Lately, I notice my more recent pieces have been aimed at nascent (and not-so-nascent) pros; and I may have scared off or zoned out quite a few readers who enjoy music from a strictly aficionado's perspective. So what do you do if you're finally ready to come out of the basement or bedroom, but don't quite feel comfortable just yet in the perceived (correctly or incorrectly) competitive or judgmental atmosphere of an open mike, in front of professional musicians or people who have the power to write things about you or offer or deny you gigs? What if you are a gigging pro who wants to try out new material without the pressure of an "audience," but rather alongside friends who want to do the same? How about you just want to play with other people and instruments, try stuff you may never have played or sung before, or just plain show off? The answer (in no particular order) is jams, song circles, and music parties. What's the difference? Tough to say, since there's so much overlap. A music party can take the form of a song circle or a free-form jam with no performance order. A jam can be onstage, in a living or hotel room, or around a campfire (but not too close if you're playing a wooden instrument and it hasn't rained for a few days). A song circle can be an onstage round robin, an after-class or post-meeting experience, or the format of a music party at a friend's house, festival, or convention. I've taken part in all of the above; and though they're informal, there are some helpful tips and unwritten rules of etiquette to ensure everyone has a great time—players and listeners alike. First of all, remember the Golden Rule of Real Estate: location, location, location. Know where you are and tailor what you're doing to the room (and I use the term loosely, since you may be outdoors) and the crowd. If your song circle is after a songwriting workshop or songwriters' organization meeting, it's a safe bet that cover tunes may be frowned upon—the idea is to share your own work, seeking collaboration or even input if that's the purpose of the gathering. As to the former, I wouldn't necessarily choose songs based solely upon whether others can easily sing or play along—you'd be surprised how resourceful your peers can be. As to input, try not to be too thin skinned; and if you don't want criticism, say so gently at the outset and your wishes will be respected. If you are a listener and input is solicited, don't feel compelled to say something, anything, just to do your duty, impress others with your critical prowess, or prove you're listening. If you simply feel a song stinks or is just not your cup of Oregon Chai, it's best not to say anything. But if you honestly have suggestions as to how or why a song stinks (couched in terms of how it can be improved) and feel the singer or writer really does want suggestions, by all means offer them. And by all means ask the song's history if you're curious. It is also perfectly acceptable to ask the writer for words and chords if the song bowls you over so much you'd like to cover it yourself—just get permission and don't make any changes without the writer's consent. When you do perform it, always credit the writer. Jams are just the opposite—the idea is to get as many people playing together as possible, and when it's your turn you should either pick a familiar cover, or a cover or original to which others can easily contribute. If there are arcane chords or modulations, say so ahead of time unless you're in a room full of virtuosi. If there's a singable chorus or a harmony part or counterpoint you'd like to have the crowd do, run through it at the outset. It's generally poor form to tell people where and when not to sing or play along—a jam song belongs to the crowd. But people will have enough common sense to cede you at least the lead vocal if you picked the tune and you haven't yielded that privilege to the floor. Use similar common sense on songs picked by others—find a way to contribute without usurping the lead. If solos are taken, they're usually 8 or 16 bars, once or twice around the verse or chorus. Don't be a solo hog. If you don't feel comfy taking a solo, no need to protest elaborately—just a simple shake of your head and a nod to the next player is a gracious and universal signal. If there are many others playing your type of instrument or singing (and you can't switch instruments), find something different to do anyway—an additional harmony if you're singing, capoing up and playing different chord inversions, running a bass line on guitar if there's no bassist, fingerpicking a tasteful counter-rhythm when everyone else is madly strumming away, etc. However, don't feel compelled to play on everything. This may come as a shock, but not every song can benefit from the addition of a bassoon, flute, or drums. A helpful tip when there are two guitarists is for the second one to play in the same key but capoed up the appropriate number of frets and using different chord positions. For example, for three guitarists all playing in F: one playing uncapoed in open positions, one capoed up five frets and playing chords as if in the key of C, and one playing D-position chords capoed up three frets. Two guitars using this technique will sound like four, three will sound like six. It never ceases to amaze me when I see groups get up on stage with two or three guitarists all playing exactly the same thing in the same position in the same style (all fingerpicking or all flatpicking). I won't get into how amateurish that seems to me, but I won't hesitate to say how boring it can sound. Music parties (at least the ones I've attended) usually incorporate elements of both jams and song circles. There are usually no restrictions on what you can and can't play; and if a song is original and highly personal to you, you will probably get to perform it without assistance. There is an etiquette to follow—usually the circle goes clockwise and newcomers go last, just before the "starter," for their initial song and then in order of where they're sitting for the next cycle (if you join the circle in a seat fairly close to the starter's left, it's good form to waive your next turn). And of course, you needn't take your turn if you don't feel like leading a song. What if you either don't care for the song that comes up or can't or don't want to sing or play along? It's break time. Sit and listen, go to the bathroom, refill your drink, hang out with the talkers (hopefully, away from the action—same goes for smoking unless it's explicitly a smoking-OK music party), or retune. If you find someone else has taken your seat upon your return, depend on their common sense and courtesy to offer it back. If the former occupant of the empty seat you take returns, offer it back. About retuning, come to the party (or at least the circle) in tune. Don't waste time during your turn retuning. An electronic tuner that senses vibration from your instrument or the signal from a pickup without being affected by room noise (and without forcing you to tune too audibly) is common sense and common courtesy. Don't come with a full-sized amp, keyboard, or drum kit unless you have been requested to do so. (Drums are generally a no-no—djembe or congitas are generally the upper limits of what is permissible). Try not to pick overly long songs unless you know the crowd wants them, and be a good sport: try not to groan when someone launches into The Wreck of the Edmund Fitzgerald or The Hurricane. This is a party, not an open mike, and everyone will get the chance to perform many times over. You need to protect your instruments. There will be many opportunities for beer to spill, and the more expensive the guitar, the bigger the beer-and-soda magnet it will be. Assume Murphy was an optimist. If you bring more than one instrument, try to keep the unused one out of harm's way. If an instrument can be tripped over, it will be. Learn to applaud while cradling the neck of your guitar. Security is generally good at most hotel music parties, but be careful. Ask if there is a separate "safe" area or room for instrument cases and instruments when not in use. Exercise care and caution with stringed instruments—an ill-placed peghead can knock out teeth, leave bruises, and generally ruin the evening of the person it hits. Trim excess string wire off your pegs before the party (but you do that anyway when you change strings, right?...just checking). Long sharp ends can injure, even put out the proverbial eye or two, or at least cause a nasty puncture wound. In short, festival and party season is upon us as I write, so relearn some of those hoary old chestnuts, learn or write some new stuff to share, and above all have fun! Main Page • List of Tips • Contact Sandy Copyright © 2000, 2001, 2002, Sandy Andina, All Rights Reserved |
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