I've been attending the St. Louis Tionol for the last 5 years, and I'm excited this year to be included among the teachers. I'll teach a beginning Irish guitar accompaniment workshop. One item I'm working on for my students is a set of "Golden Rules" for session guitarists. I want 10 rules, but I only have 9. Perhaps you can help:
1. First, do no harm.
2. Irish guitar accompaniment is different from American folk styles (like old time or bluegrass) both harmonically and rhythmically. Understand those differences.
3. You have to practice and devlop technique as much as melody players do.
4. You have to learn tunes. You don't necessarily need to pick the notes on your instrument, but you at least need to know tunes in your head. When you come to that inevitable point in a session where the melody players are trying to figure out the name of a tune they just played, you--as often as anybody else--should be the first to correctly name that tune. Make that a point of pride.
5. Irish guitar accompaniment is improvisational and eclectic. Revel in that. if you play a tune 3 times through, you should play it 3 different ways.
6. Since Irish guitar accompaniment is improvisational and eclectic and there are many, many ways to accompany the same tune, if there are other accompanists, you should take turns playing unless you really know how to work together.
7. Slow airs sound just fine unaccompanied.
8. Develop an understanding of chord theory, including triads, chord substitutions, passing chords, moving bass lines, and suspensions.
9. Develop at least a rudimentary understanding of modality.
Can this thread be renamed '"Golden Rules" for session guitarists'? I'd hate to see this thread get missed. I thought it was something about the Tionol specifically which is the only reason I looked.
I chanced across this thread and think it's an excellent idea! Some suggestions, if you'd like:
As an extension to #8 - chord inversions (although sort of linked to triad theory and bass lines). Voice leading as well, each note sounded should have a purpose. Possibly linked into use (and abuse) of open tunings & DADGAD.
Along the lines of #4 -you could also mention something about how tunes can do unexpected things (accidentals etc) so a knowledge of the tunes is essential. Often parts of tunes are not in the same key or mode, if you can hum the tunes you'll know how they change.
#9 - I'd think a more than rudimentary understanding is called for, and needs to be combinable with #8. Possibly you could combine rules #8 & 9?
Another way to express #1 might be: a guitar should always add something to a session, and never detract.
I think #5 & #6 could be combined to something along the lines of: "There's an effectively limitless way to accompany the same tune, allowing for variances in taste, style, tuning, and voicing. So try to vary the way you accompany a tune each time through. And be aware that other accompanists might have entirely different approaches, so you might have to take turns."
I think your potential #10 could be something along the lines of "within a bar of 4/4, 6/8 or whatever, the notes are not equally spaced within the bar. A guitarist should not play uniformly on the beat, else they end up crushing the rhythm of the music, they must be able to move in front of and behind the beat to both compliment the music and enhance it. A guitarist should be able to both maintain a steady tempo, but also be able to react to changes"
I think you could also mention something about how chord resolution need not always be constant, i.e. if you're changing chords twice per bar of 4/4 try having the odd bar where you only put in one change.
I hope that stream of conciousness sort of makes sense!
Hi Keith... quite a list! I have played 45 years, most in ITM, both a fingerstyle tune player and a backer, and teach some as well. I really do not have a lot of students, due mainly to turning away the ones who just want 2-3 chords in any given key, and goodbye. Unless I figure they may be open to go further with it in time. Otherwise no. I have surveyed several guitar backers who also play tunes, and all thus far have agreed backing, on a decent level, is harder than tune playing. It is innovative, you need to know the tune, have it in your head, yet have your hands do something different. It is instinctual, more than melody playing I believe, there is no set note that you must play next, and you often make it up as you go along. And right, you change it during the tune so it doesn't get boring.
To be on top of backing, you not only need to know the tunes, but also be able to "wing it" on tunes you never heard before. That means not only learn tunes, but the basic structures of the tunes. The best way is to immerse oneself in constantly backing to CDs until it practically is encoded in you brain. You also ultimately cannot rely on the melody players to be calling out keys to you, so you really also need to develop near perfect relative pitch. Often a melody player will tell you the wrong key, or the right key for part A but not that it changes in Part B. Or it's in D but starts on a G, or what the next tune will be, etc. It is very complex once you get into the depths, and very very challenging, but I find it more satisfying than tune playing, if I had to choose between the two. Ideally a backer should be able to be a melody player, but be doing backing because they enjoy it more. That's where really understanding the tunes and music kicks in.
I have for years now, been telling guitar players to listen to the good piano backers (Felix Dolan for one), and also that any one of them could lapse into melody if and when they felt like it. Much of what I learned about backing, self taught by listening, I learned from studying the piano players. They never sit on a chord long, and play counter melody and harmony notes and some bits of melody here and there, then use a brief chord for a stress note. They ease up into a chord, and walk back out of it. I play fingerstyle (which can have good volume and good attack.... check out Martin Carthy as an example) but this can be applied to flatpicking as well. Most of all, it is under the melody, supports, not competes. Ideally, as a backer you want people to not be listening to you at all, often the better the backer, the more focused people are on the melody player.... but if you suddenly stopped... they would notice something is really missing. Backers who want to be out there, the star, it doesn't work. Check your ego at the door, your job is to make the melody player shine. It's about the music, the tune, not you. It's a hard one for some people to deal with, but the ones who truly love the music do understand that statement.
Other things in backing... if one does a real study of it... you need to carry on the tune, say if the melody player drops the tune, goofs up.... drone on in the tune pattern, pick a few notes until they come back... make it look like something planned... you ultimately should be able to do a good save for a melody player who momentarily loses it, esp. in a performance situation. That takes really knowing the music. You also have to focus 110% on and develop great sensitivity to your melody player, verging on the telepathic at times.... just feel when they are about to stress a note, and try to be there with them. Know when they will hold back, and come back with them. That to me is the greatest joy about backing, when you get so in sync like that. Ultimately you may not even have to know the person, maybe meet them for the first time, but if you know the music well, on a deep level, when you meet a melody player you are pretty much speaking the same language and it should work.
Slow airs... they are the hardest to back. There is a bit of a trick to it... if someone wants one backed. In backing reels jigs etc. you need to be right with them. On an air... this is just my idea on it.... you can, and it is OK to be a split second behind. It sounds like the melody leads, and you follow... I think it's the only time "following" sounds good. They don't need backing, but so often someone asks you back them on an air. A while back there was a nasty thread here about how to best throw a guitar player.... it was so silly... like play Kid On The Mountain, or this or that tune... I said I knew how to throw a backer nearly every time and asked them to guess, no one could. The answer is to ask them to back an air. it is confusing to most. If you allow that little lead in by the melody though, and have good relative pitch, and listen closely, an air actually becomes fairly easy to back. You have to arpegiate a lot, whether with pick or fingers to draw out the long notes. that is one thing I would work on with the more serious student down the line.
What Will says about each tune having its own personality is dead on. Knowing the key is only half the battle really, you need to either know the tunes or be able to quickly sense the structure of any new tune you encounter. There are a few though, all over the place in constantly changing keys and modes and these will be a little harder to pick up, but that is unusual, most tunes follow certain basic structures that one can become familiar with.
I know nothing about music or theory, been playing by ear since childhood, so music theory may help some, but may not always be necessary. Many trad teachers teach by ear and eye though too. In this case it is extra important to eventually be so familiar with your instrument that you hear a sound and know pretty automatically where it lives on the fingerboard. This takes many years of practice, but if you love the music, it's just fun! And lastly, I would urge students to develop their own style ultimately. First they have to learn the mechanics well though.
Good luck Keith... you'll do great, congratulations on the teaching post too! Have you any sound clips somewhere, would love to hear what you do.
Speaking from my own experience as an accompanist, sideman, and/or backup musician on both piano and bass, I completely agree with everything that has been said on this thread about teaching guitarists (and other musicians) how to accompany Irish music.
My perspective (or viewpoint) also includes working as an accompanist/sideman/backup musician in other types of music as well. Such as old-time string band music, accompanying dancers, playing at blues jams, and playing for church services.
Since I live in Arkansas and can drive to St. Louis, Missouri in less than one day, I have attended Tionol twice and enjoyed it both times even though some of the musicians seemed to think my genuine imitation piano (a Roland EP-90 Digital Piano) was an inappropriate instrument to bring to an event such as Tionol. Their attitude seemed to be that I should bring something acoustic which didn't need to be plugged in.
Is Ged Foley teaching a more advanced guitar workshop there this year?
I'm sure he hasn't an attitude about electric pianos. He was very complimentary about my playing at a house session recently with my little Yamaha YPG. He's such a nice man and great musician!
Sorry you had such an attitude facing you there, Faux. Maybe Tionol is different from an informal session - the music police might be out in force. Sneak in batteries if you can...
Keith- I recognized your photo from the band website and recall hearing you play some jaw-dropping good guitar at the Tionol sessions. Kudo to Mike & Michael for having the foresight to hire you. Folks in the St Louis area could do much worse for a guitar model (and with Ged Foley on board as well no less).
I wouldn't disagree with much of anything stated so far. The only point I humbly feel is worth mentioning is that it is OK, even desireable when practical, for guitar/backers players to ask the melody players how they wish to be backed.
Obviously that's not practical at a large session, but when one plays regularly with melody players or in ensembles, its been my experience that different melody players have different preferences. Some melody players seem to prefer the John Doyle on steroids wildman approach to backing, while others prefer the staid, simple and basic approach. Others, something in between.
While I personally wouldn't disagree the statements that: "Irish guitar accompaniment is improvisational and eclectic. Revel in that. if you play a tune 3 times through, you should play it 3 different ways." Indeed, that is one of the reasons I really enjoy playing rhythm (yes, as you know because I've heard you slam out tunes, some people play rhythm because they like it, not (only) because they cannot play tunes). But, I don't think all melody players always feel that way and it is sometimes OK to back a tune very straightforward, and even identically 3 times in a row, if that is what the melody player(s) desires.
While I'm not one to argue that melody players are necessarily more "important" than rhythm players - that argument to me is akin to arguing that trombone players are more important than french horn players in an orchestra; it takes ALL the instruments to make the desired sound - I do believe the rhythm, players are there to support the melody. And, therefore, the melody player should have some say in how they wish to be supported. That is something I personally believe rhythm players should understand.
We'll miss the Tionol this year due to prior obligations, but good luck with the class!
Ged Foley wasn't at Tionol either of the two years that I was there but if that is typical of his attitude towards electric pianos, then I would probably enjoy making music with him. The anti-electric piano attitude seemed to come from some of the other musicians who were there to take the classes at Tionol instead of the instructors. I encountered this attitude at some of the informal jam sessions at Tionol.
After experimenting with many different electronic keyboards (including Yamaha's), I decided that I preferred a Roland keyboard. I have to plug in my Roland EP-90 Digital Piano because it isn't equipped for batteries. I always try to bring a long enough extension cord so I can plug in my genuine imitation piano.
After watching Solas perform, I agree with the person who described John Doyle's style of guitar playing as "steroids wildman" accompanying.
True enough.... people like different backing styles,. I know some hate how I play, and if MOST hated it, I'd definitely think about changing it, but it seems to just be a few. That's fine, in a way it is good to get a strong reaction, love or hate, but not just dull, blah, etc. Hopefully more on the love side. It means you have a distinctive style, which is a good thing to cultivate in a student! I am decidedly not steroidal, but very melody based and subtle as a fingerstyle player.... but finger players can be subtle, yet choppy and have good volume, good attack and phrasing. Too many before hearing it think it can't work.
Sometimes I get so bored with myself I WANT to hear some Doyle on steroids too though! If it's done well that is.
Some players don't like backing others seem to not want to play in public without it, and I am not talking about people who need any mistakes covered either. They think it adds something.
Mainly, a melody player hates to have to worry about their backer (talking about performance settings), they need to focus on their playing and know the backer is 100% focused on them and with them closely.
OK...outta here before I write too much.... but please check out Keith's group: http://www.beggarmen.com/ it will be worth it.
Iris--glad to hear you appreciate a good "Doyle Style Whacking".
Although I prefer your deft handling on the whole, for the rants & reels, I like a rougher treatment myself. (I bought her CD and
she is a consummate finger style player).
St. Louis Tionol
St. Louis Tionol
I've been attending the St. Louis Tionol for the last 5 years, and I'm excited this year to be included among the teachers. I'll teach a beginning Irish guitar accompaniment workshop. One item I'm working on for my students is a set of "Golden Rules" for session guitarists. I want 10 rules, but I only have 9. Perhaps you can help:
1. First, do no harm.
2. Irish guitar accompaniment is different from American folk styles (like old time or bluegrass) both harmonically and rhythmically. Understand those differences.
3. You have to practice and devlop technique as much as melody players do.
4. You have to learn tunes. You don't necessarily need to pick the notes on your instrument, but you at least need to know tunes in your head. When you come to that inevitable point in a session where the melody players are trying to figure out the name of a tune they just played, you--as often as anybody else--should be the first to correctly name that tune. Make that a point of pride.
5. Irish guitar accompaniment is improvisational and eclectic. Revel in that. if you play a tune 3 times through, you should play it 3 different ways.
6. Since Irish guitar accompaniment is improvisational and eclectic and there are many, many ways to accompany the same tune, if there are other accompanists, you should take turns playing unless you really know how to work together.
7. Slow airs sound just fine unaccompanied.
8. Develop an understanding of chord theory, including triads, chord substitutions, passing chords, moving bass lines, and suspensions.
9. Develop at least a rudimentary understanding of modality.
Any ideas?
# Posted on March 21st 2008 by IC Keith
Re: St. Louis Tionol
That's a pretty good list. You might consider adding (I'd put it where No. 5 is now and bump the others up a number):
Each tune has it's own personality. Respect each tune's individuality.
# Posted on March 21st 2008 by Will Harmon
Re: St. Louis Tionol
Can this thread be renamed '"Golden Rules" for session guitarists'? I'd hate to see this thread get missed. I thought it was something about the Tionol specifically which is the only reason I looked.
Great list Keith, I can't think of a thing.
# Posted on March 21st 2008 by SWFL Fiddler
Re: St. Louis Tionol
I appreciate the comment, SWFL Fiddler. I'll submit this with the name you suggested.
# Posted on March 21st 2008 by IC Keith
Re: St. Louis Tionol
How about:
10) The melody players set the rhythm. Follow their rhythm, rather than forcing yours.
# Posted on March 22nd 2008 by Georgi
Re: St. Louis Tionol
I chanced across this thread and think it's an excellent idea! Some suggestions, if you'd like:
As an extension to #8 - chord inversions (although sort of linked to triad theory and bass lines). Voice leading as well, each note sounded should have a purpose. Possibly linked into use (and abuse) of open tunings & DADGAD.
Along the lines of #4 -you could also mention something about how tunes can do unexpected things (accidentals etc) so a knowledge of the tunes is essential. Often parts of tunes are not in the same key or mode, if you can hum the tunes you'll know how they change.
#9 - I'd think a more than rudimentary understanding is called for, and needs to be combinable with #8. Possibly you could combine rules #8 & 9?
Another way to express #1 might be: a guitar should always add something to a session, and never detract.
I think #5 & #6 could be combined to something along the lines of: "There's an effectively limitless way to accompany the same tune, allowing for variances in taste, style, tuning, and voicing. So try to vary the way you accompany a tune each time through. And be aware that other accompanists might have entirely different approaches, so you might have to take turns."
I think your potential #10 could be something along the lines of "within a bar of 4/4, 6/8 or whatever, the notes are not equally spaced within the bar. A guitarist should not play uniformly on the beat, else they end up crushing the rhythm of the music, they must be able to move in front of and behind the beat to both compliment the music and enhance it. A guitarist should be able to both maintain a steady tempo, but also be able to react to changes"
I think you could also mention something about how chord resolution need not always be constant, i.e. if you're changing chords twice per bar of 4/4 try having the odd bar where you only put in one change.
I hope that stream of conciousness sort of makes sense!
# Posted on March 22nd 2008 by Andy V
Re: St. Louis Tionol
Hi Keith... quite a list! I have played 45 years, most in ITM, both a fingerstyle tune player and a backer, and teach some as well. I really do not have a lot of students, due mainly to turning away the ones who just want 2-3 chords in any given key, and goodbye. Unless I figure they may be open to go further with it in time. Otherwise no. I have surveyed several guitar backers who also play tunes, and all thus far have agreed backing, on a decent level, is harder than tune playing. It is innovative, you need to know the tune, have it in your head, yet have your hands do something different. It is instinctual, more than melody playing I believe, there is no set note that you must play next, and you often make it up as you go along. And right, you change it during the tune so it doesn't get boring.
To be on top of backing, you not only need to know the tunes, but also be able to "wing it" on tunes you never heard before. That means not only learn tunes, but the basic structures of the tunes. The best way is to immerse oneself in constantly backing to CDs until it practically is encoded in you brain. You also ultimately cannot rely on the melody players to be calling out keys to you, so you really also need to develop near perfect relative pitch. Often a melody player will tell you the wrong key, or the right key for part A but not that it changes in Part B. Or it's in D but starts on a G, or what the next tune will be, etc. It is very complex once you get into the depths, and very very challenging, but I find it more satisfying than tune playing, if I had to choose between the two. Ideally a backer should be able to be a melody player, but be doing backing because they enjoy it more. That's where really understanding the tunes and music kicks in.
I have for years now, been telling guitar players to listen to the good piano backers (Felix Dolan for one), and also that any one of them could lapse into melody if and when they felt like it. Much of what I learned about backing, self taught by listening, I learned from studying the piano players. They never sit on a chord long, and play counter melody and harmony notes and some bits of melody here and there, then use a brief chord for a stress note. They ease up into a chord, and walk back out of it. I play fingerstyle (which can have good volume and good attack.... check out Martin Carthy as an example) but this can be applied to flatpicking as well. Most of all, it is under the melody, supports, not competes. Ideally, as a backer you want people to not be listening to you at all, often the better the backer, the more focused people are on the melody player.... but if you suddenly stopped... they would notice something is really missing. Backers who want to be out there, the star, it doesn't work. Check your ego at the door, your job is to make the melody player shine. It's about the music, the tune, not you. It's a hard one for some people to deal with, but the ones who truly love the music do understand that statement.
Other things in backing... if one does a real study of it... you need to carry on the tune, say if the melody player drops the tune, goofs up.... drone on in the tune pattern, pick a few notes until they come back... make it look like something planned... you ultimately should be able to do a good save for a melody player who momentarily loses it, esp. in a performance situation. That takes really knowing the music. You also have to focus 110% on and develop great sensitivity to your melody player, verging on the telepathic at times.... just feel when they are about to stress a note, and try to be there with them. Know when they will hold back, and come back with them. That to me is the greatest joy about backing, when you get so in sync like that. Ultimately you may not even have to know the person, maybe meet them for the first time, but if you know the music well, on a deep level, when you meet a melody player you are pretty much speaking the same language and it should work.
Slow airs... they are the hardest to back. There is a bit of a trick to it... if someone wants one backed. In backing reels jigs etc. you need to be right with them. On an air... this is just my idea on it.... you can, and it is OK to be a split second behind. It sounds like the melody leads, and you follow... I think it's the only time "following" sounds good. They don't need backing, but so often someone asks you back them on an air. A while back there was a nasty thread here about how to best throw a guitar player.... it was so silly... like play Kid On The Mountain, or this or that tune... I said I knew how to throw a backer nearly every time and asked them to guess, no one could. The answer is to ask them to back an air. it is confusing to most. If you allow that little lead in by the melody though, and have good relative pitch, and listen closely, an air actually becomes fairly easy to back. You have to arpegiate a lot, whether with pick or fingers to draw out the long notes. that is one thing I would work on with the more serious student down the line.
What Will says about each tune having its own personality is dead on. Knowing the key is only half the battle really, you need to either know the tunes or be able to quickly sense the structure of any new tune you encounter. There are a few though, all over the place in constantly changing keys and modes and these will be a little harder to pick up, but that is unusual, most tunes follow certain basic structures that one can become familiar with.
I know nothing about music or theory, been playing by ear since childhood, so music theory may help some, but may not always be necessary. Many trad teachers teach by ear and eye though too. In this case it is extra important to eventually be so familiar with your instrument that you hear a sound and know pretty automatically where it lives on the fingerboard. This takes many years of practice, but if you love the music, it's just fun! And lastly, I would urge students to develop their own style ultimately. First they have to learn the mechanics well though.
Good luck Keith... you'll do great, congratulations on the teaching post too! Have you any sound clips somewhere, would love to hear what you do.
# Posted on March 22nd 2008 by irisnevins
Re: St. Louis Tionol
Speaking from my own experience as an accompanist, sideman, and/or backup musician on both piano and bass, I completely agree with everything that has been said on this thread about teaching guitarists (and other musicians) how to accompany Irish music.
My perspective (or viewpoint) also includes working as an accompanist/sideman/backup musician in other types of music as well. Such as old-time string band music, accompanying dancers, playing at blues jams, and playing for church services.
Since I live in Arkansas and can drive to St. Louis, Missouri in less than one day, I have attended Tionol twice and enjoyed it both times even though some of the musicians seemed to think my genuine imitation piano (a Roland EP-90 Digital Piano) was an inappropriate instrument to bring to an event such as Tionol. Their attitude seemed to be that I should bring something acoustic which didn't need to be plugged in.
# Posted on March 22nd 2008 by fauxcelt
Re: St. Louis Tionol
Is Ged Foley teaching a more advanced guitar workshop there this year?
I'm sure he hasn't an attitude about electric pianos. He was very complimentary about my playing at a house session recently with my little Yamaha YPG. He's such a nice man and great musician!
Sorry you had such an attitude facing you there, Faux. Maybe Tionol is different from an informal session - the music police might be out in force. Sneak in batteries if you can...
# Posted on March 22nd 2008 by vonnieestes
Re: St. Louis Tionol
Keith- I recognized your photo from the band website and recall hearing you play some jaw-dropping good guitar at the Tionol sessions. Kudo to Mike & Michael for having the foresight to hire you. Folks in the St Louis area could do much worse for a guitar model (and with Ged Foley on board as well no less).
I wouldn't disagree with much of anything stated so far. The only point I humbly feel is worth mentioning is that it is OK, even desireable when practical, for guitar/backers players to ask the melody players how they wish to be backed.
Obviously that's not practical at a large session, but when one plays regularly with melody players or in ensembles, its been my experience that different melody players have different preferences. Some melody players seem to prefer the John Doyle on steroids wildman approach to backing, while others prefer the staid, simple and basic approach. Others, something in between.
While I personally wouldn't disagree the statements that: "Irish guitar accompaniment is improvisational and eclectic. Revel in that. if you play a tune 3 times through, you should play it 3 different ways." Indeed, that is one of the reasons I really enjoy playing rhythm (yes, as you know because I've heard you slam out tunes, some people play rhythm because they like it, not (only) because they cannot play tunes). But, I don't think all melody players always feel that way and it is sometimes OK to back a tune very straightforward, and even identically 3 times in a row, if that is what the melody player(s) desires.
While I'm not one to argue that melody players are necessarily more "important" than rhythm players - that argument to me is akin to arguing that trombone players are more important than french horn players in an orchestra; it takes ALL the instruments to make the desired sound - I do believe the rhythm, players are there to support the melody. And, therefore, the melody player should have some say in how they wish to be supported. That is something I personally believe rhythm players should understand.
We'll miss the Tionol this year due to prior obligations, but good luck with the class!
# Posted on March 22nd 2008 by daddae
Re: St. Louis Tionol
Ged Foley wasn't at Tionol either of the two years that I was there but if that is typical of his attitude towards electric pianos, then I would probably enjoy making music with him. The anti-electric piano attitude seemed to come from some of the other musicians who were there to take the classes at Tionol instead of the instructors. I encountered this attitude at some of the informal jam sessions at Tionol.
After experimenting with many different electronic keyboards (including Yamaha's), I decided that I preferred a Roland keyboard. I have to plug in my Roland EP-90 Digital Piano because it isn't equipped for batteries. I always try to bring a long enough extension cord so I can plug in my genuine imitation piano.
After watching Solas perform, I agree with the person who described John Doyle's style of guitar playing as "steroids wildman" accompanying.
# Posted on March 22nd 2008 by fauxcelt
Re: St. Louis Tionol
True enough.... people like different backing styles,. I know some hate how I play, and if MOST hated it, I'd definitely think about changing it, but it seems to just be a few. That's fine, in a way it is good to get a strong reaction, love or hate, but not just dull, blah, etc. Hopefully more on the love side. It means you have a distinctive style, which is a good thing to cultivate in a student! I am decidedly not steroidal, but very melody based and subtle as a fingerstyle player.... but finger players can be subtle, yet choppy and have good volume, good attack and phrasing. Too many before hearing it think it can't work.
Sometimes I get so bored with myself I WANT to hear some Doyle on steroids too though! If it's done well that is.
Some players don't like backing others seem to not want to play in public without it, and I am not talking about people who need any mistakes covered either. They think it adds something.
Mainly, a melody player hates to have to worry about their backer (talking about performance settings), they need to focus on their playing and know the backer is 100% focused on them and with them closely.
OK...outta here before I write too much.... but please check out Keith's group:
http://www.beggarmen.com/ it will be worth it.
# Posted on March 22nd 2008 by irisnevins
Re: St. Louis Tionol
Iris--glad to hear you appreciate a good "Doyle Style Whacking".
Although I prefer your deft handling on the whole, for the rants & reels, I like a rougher treatment myself. (I bought her CD and
she is a consummate finger style player).
# Posted on March 25th 2008 by hauke
Re: St. Louis Tionol
As always, I'm looking forward to meeting and playing with lots of new people this year. See you in St. Louie!
Ken
# Posted on April 2nd 2008 by RogueFiddler