LET’S ROLL: PAGE 1 I launched Wernick Method in late 2010 to provide teaching guidance and Ask Dr. Banjo other help to bluegrass teachers, to make it easy for them to teach jamming. As of January 2012, I’ve certified almost 30 Why Teachers Should Offer Jam Classes... teachers, and over 500 students have taken our classes. Students and the teachers Pete Wernick are giving us excellent reports, so we are It’s Fun & Fundamental (and… Profitable) (see DrBanjo.com’s list of 82 such songs). excited that it’s working! Keeping rhythm and changing chords at We encourage teachers to supplement This column continues the discussion the right places while someone sings is all their one-on-one lessons with classes, on teaching from the November Banjo that’s needed—and is the foundation for combining their students with those of Newsletter. This time it’s about why I think all that’s to come. other teachers for the powerful motivation jam instruction should be part of learning I’m aware that strumming and chording that students get from these situations— bluegrass banjo, and my recommendations while singing is not the goal that entices and the unique benefits of teaching and for teachers. most prospective banjo players. But it’s observing them “in context.” Almost every aspiring musician like learning the alphabet. It sets the dreams of playing music with other people. foundation upon which the rolls and harder How students benefit by combining a jam And any way you slice it, bluegrass banjo stuff must fit. Too many players skip this class with private instruction is an element of bluegrass music, a group important step and struggle with timing Students who decide to learn a effort, a teaming of instruments and problems when playing mechanically from bluegrass instrument are not just aspiring to voices. Yet very little bluegrass teaching tab or other by-rote methods. become a “really good closet player”. They stresses interactive skills. But it could, and generally hope to participate comfortably it should! Typical bluegrass skills are interactive: in bluegrass jams. Learning the ropes of a The most common complaint of new • Unfamiliar songs are followed and team type of music means being on a team jam students is that their teachers and learned by watching others—and jams sometimes. learning guides have emphasized strictly often include unfamiliar songs! Following/ Let’s talk “motivation”, the big rote learning of instrumental solos, with learning new songs can be taught and factor in whether a student practices no attention to what it really takes to practiced. and progresses. We know: Learning an contribute to a functional and enjoyable • In jams, factors such as controlling instrument can be a lonely pursuit. Often jam session. This mimics non-bluegrass volume, transposing, using a capo, staying a student’s musical quest is known only to music teaching overall—it’s about playing in tune, etc., are vital to the musical quality their teacher and family. But when students “pieces.” Many teachers think jamming and smooth flow of the jam, yet these are in a jam class pursue a common goal, they isn’t possible until a player can solo well. rarely taught. bond and build the camaraderie that’s such This is upside down to me. • Jams depend on people knowing how an appealing part of bluegrass. They start Jamming is not only fun, it’s to lead songs, offer breaks, start and end to carpool and get together between classes fundamental. A brand-new banjo player smoothly, etc. Again, these skills can and for mutual help. If they miss a week, they can be jamming within minutes of being should be taught. are missed. Once jammers are “launched” shown a D7 chord. Switching between G Jamming tends to require ear skills—to by a set of classes, they often keep meeting and D7 while strumming is not only ultra- anticipate chord changes, to find melodies to jam and team up to attend festivals and easy, it’s an entry into real music-making. by ear, to put in the right pauses at the right concerts. This involvement translates into Many great songs, including bluegrass times. Most students recognize if they lack motivation… in spades. classics, can be played with just two chords ear skills and understandably wonder how Students needing help with jamming they will ever learn them. A teacher saying, can work with a teacher privately on their “It comes in time,” can actually discourage specific jamming hangups. The teacher gets a person who’s not sensing any progress. to observe the student jamming in class, However—a student who jams regularly and then they can work on the problems. gets ample evidence of their developing Having a student play with a (well- ear skills at every session. amplified) jam-along DVD is a great way I’ve taught jam skills to banjo players to spot problems and make improvements. for decades, and started offering all- One important breakthrough is learning to instruments jam classes in the mid-90s. align a banjo roll with a boom-chick beat. Sixty jam camps later, it’s clear that with a That’s when the fun level rises sharply combination of classroom instruction and and clouds of mystery fall away! The being coached in small jam groups, anyone student can now really contribute to a jam. can get a handle on jamming. When it The teacher can keep using play-along happens, a lifelong ability to make music recordings with the student, to teach the with other people is established, a great fine points of backup and staying on track payoff! when soloing. Singing, while on the surface not rote solos becomes useful (at last!). Simple relevant to instrumental skills, is of course canned solos (two or three is plenty) will part of jamming. I urge all students to sing, give a student a bit of know-how and good at least enough to help build the general experience. Then—students should try to musicianship that instrumental skills make up their own basic solos. They can depend on. The Wernick Method includes fit melody notes into rolls and add simple a clear and foolproof technique to help a phrases learned from tabs or other sources. student to sing in tune. Every student can Embellishments such as slides, hammers and should be taught to carry a tune. Once and pull-offs enter the picture as good and there’s a brain/voice connection, finding a “real”-sounding moves they’re excited melody by ear on the banjo becomes much to apply to their simple homemade solos. easier. With a teacher’s help to smooth out the Another skill students are eager to rough parts, soloing can be learned and learn is “what to do when someone says, applied in the context of small group jams. Take it!”—how to “fake” a rudimentary In sum, the skills that help a person jam instrumental solo. The first step is what we effectively are what most students are after, call the “placeholder” solo: maintaining so what better way to help a student than to a roll while following the chord changes. provide a situation where that can happen? The next steps can be shown by a teacher If they don’t learn jamming from you, how and developed in small jams. Faking will they learn it? solos is a critical and fundamental skill of bluegrass musicianship. Here’s where I Watch a video of teachers discussing the recommend… tablature! Wernick Method, at DrBanjo.com. Click Yes, at this point, learning a few by- Teachers..