i have never met him. so that would be the main preventative issue haw!
I have been working on getting my timing in order with a metronome when I’m picking solo. I play guit in a bluegrass band and I’m alright rolling through fiddle tunes and whatnot, but the singing tunes, whether it is myself or a band mate singing I get off track. I want to be a good listener yet when tempo issues come into play you can’t follow the leader as it were. Any advice?
Ps thanks for being awesome and inspiring.
it's just woodshedding like crazy. i don't have any quick answers sorry about that. this stuff is hard that you describe. keep at it. it won't improve if you DON'T work on it haha.
yeah sorry. there's enough stuff out there live show recordings and things i put out that sold two copies that should keep you busy for a looooong time! but yeah jan. thank you for listening.
Hey dude. Ive been hearing ya talk about aesthetics a bunch recently, and i was wondering if you consider that in the songwriting process, instrumental process, or if its a post-creation sorta thing. Aesthetics as a term seems to be more of a visual thing, usually, and if ya could maybe somehow uh, talk on your perspective, thatd be super cool.
One of my good picking friends(better than me) said something about "how can i make it art?" I was stumped. Its not just the pitch, the tambre, the timing. I really think youre onto something with the aesthetic, and i suppose im asking to describe the indescribable. Sorry this is pretty scattered but its the sort of non-technical stuff that really is interesting about
well if you think about it, making a record is like making a movie. what are you going to make the movie "about"? you can't just film EVERYTHING or whatever you start to have to figure out the cast and the setting and the lighting and all that. the narrative. the overall arc and the little scenes within there. the time period coordinates etc. or maybe all of this is abandoned for some as-yet untried method. i think of it like you are making a play or a movie.
a record is a sound movie. the songs are scenes. then you tell a story.
I'm pleased you are coming to Midwest Banjo Camp this summer. See you there. I found a tab by you for "Kentucky Waltz" on Banjo News. You offered to make a cassette tape of that tab by cassette. Since cassettes are old media, how would you handle that request these days? Thanks! - Don
man i'd have to see a scan of that know what that was. i'd prolly just make you a tape that's easier.
well i don't really feel that good. i practice a lot and work on everything. really at my age as long as i been doing this you'd think i'd be REALLY good. but that's not the case. but sometimes i think it's possible for me to have interesting ideas.
Now I have learned to read standard notation on banjo (from your online lessons) I can play the notes from a lot of tunes I would have never figured out.
However I can't play any of it clean or up to speed. Do you have any tips about the method of how to get stuff polished up?
I can't say enough about how much these lessons have helped me and how generous it is for you to share this knowlege; thank you so much!
man, don't worry about it. just read through a few things at 60 beats a minute or wherever you like. if you do that a few times a week in a years time, you will have greatly progressed. just keep at it a little bit at a time. over time.
Hi Danny, I really enjoyed hearing you pickin’ & grinnin’ with Jon Neufeld a couple nights ago, particularly your guitar duet numbers. I was blown away by the way you made your 12-string talk the blues, and I was wondering if you’d share a little techie info, as I have never seen anybody pick drop-D 12-string with a bottleneck slide, Scruggs style...
Did you have to do anything special with your setup, specifically at the nut, to level out the strings so the slide would contact them all evenly? Or do you just press down a bit harder till it works?
All I know is my 12-string doesn’t sound like that when I try messing with it in that fashion.
you kinda gotta get the string blocking together on the right hand like a pedal steel player cuz otherwise things are all jumbled. heavier strings. only slightly high action for tuning.