When I first started playing at ITM sessions, some musician friends gave me some very good advice--listen to the music. Seems straighforward, but many players do not seem to take this advice. There are those who play what they want, don't bother to learn the tunes, are generally a thorn in the side of other session players. Why they aren't asked to leave, I cannot fathom.
Then there are those who use music to learn the tunes, and don't play badly, but cannot give up the music. I have found when I use music, I am not listening, I am paying attention to reading the music while the tune goes on. I play by ear almost all the time now; I find that I don't have to memorize chords or anything like that because I can figure the tune out by ear now.
I have suggested to a person at a session I run, that they not play next time, but spend their time listening. All I got was resistance, and a real attitude. This same person, when they first started playing, told me I was changing chords at the wrong time, according to the music. They claim they cannot hear the chord changes, but they are memorizing some of the tunes. I would like to see this person succeed, so my question is:
How to I get them to get off their music and just listen?
It really is their loss. If they don't realize the importance of listening, then they simply shouldn't be playing this music. I don't exaggerate, I honestly mean that. They are not playing this music properly or doing it any justice. Now, if they are stuck reading music but realize it and live in hope, thats ok. Try and push them to listen more. But if you're meeting actual resistance and aggressiveness, then these guys are not traditional Irish musicians in my opinion.
Perhaps you could offer some recordings of how it is done correctly? You could steer them to the thousands of threads here that cover the same subject. Cut and paste a few Michael Gill comments in an e-mail to him/her. That should sufficiently scare them off the dots.
If you are like me and live in an area where ever session player is needed to keep the community growing I can respect how you are trying to encourage this person to continue - and in the right way. Regretfully, sometimes there are a few thick headed trolls that just need to be shown the door. Good luck!
This is apparently not just a problem with novices. I was at a session in Ireland a few years ago where a well-known fiddler would force every tune to go at his tempo and in his rhythm, no matter who started it. This is someone who teaches at week-long schools/festivals, has a tune named after him that's been recorded more than a half-dozen times, and appears on several albums, though he doesn't have a solo recording.
I was recently talking with a major icon in the world of Irish music, and he mentioned, out of the blue, the same thing about the same musician. He also said that it hadn't been a problem when this fiddler used to play a different instrument that isn't held so close to the ear.
So, who wants to tell this guy that he shouldn't be playing this music?
Hey Ted: "It's a happening...", I checked it out; somewhere around here I have that record. It's still cool stuff.
I wish that I knew what to tell you. You already know this, judging by your comments, but if it's a "gig" situation, part of the job of the musicians is to be making eye contact and interacting with the crowd, and if you're looking at charts, you aren't doing that. I figured that out really early on. AND you're not listening to the rest of the band. I won't go into my disappointment about going out rockin' on a Saturday night only to run into (supposedly professional) bozos reading song lyrics. . .
A couple of years ago I used to attend a "Slow Session". There was this gal there that would whip out her tunebook and play stuff once through. I and the session leader used to get into arguments with her about 1) playing them at least three times through, and 2) losing the book, to no avail. I've recently run into her, and she's turned into a kick-butt ear-learning concertina player. Frankly, I'm a bit proud of her for finally getting it together. I wish that I could be out there and help you whip these cats into shape, and offer you more than pointless stories. But the Michael Gill treatment might be just what's in order. Good Luck, buddy!
Sessions are an interesting mix of social & musical interests. Some are great for listening to &; as they say, playing in ~ 'if you have something to contribute.'
A few are not the best environment for listening. But those are rare.
Reading is not the source of the problem. The tunes become q part of you by totally immersing yourself (aurally). You seek out the best sesions, you listen to the best players in a session, you endlessly listen to recordings, you seek out individuals to play with only 1 or 2 other players outside of session, & you keep returning for more. .
Perhaps you could play a few tunes the person doesn't know. If they ask the name, (in order to find the sheet music), say, "I can't remember, I heard it on an album years ago. Listen, I'll play it again."
Or you could "accidentally" knock over their music stand just as they start playing their favorite song.
I think too, one must look at the motivation of the player. I think we can safely say we're talking mostly about guitar players here. the motivation is there (for the most part) for a whistler or fiddler or flute player because ITM is what you play on these instruments an developing the repertoire and committing it to memory are part if the idiom. but most sessions have those guitar (or piano) players who just show up just to have a place to play socially. Ther intrest is more in the playing than in any sort of interest in the genre. They feel that just following along on a chart is sufficient and never learn to listen to the structure of the tune. Don't get me wrong most sessions need a guitar as a foundation to help the tune along, and i often play guitar in my session too, when needed. But I'm a mandolin/fiddler too, so i know the tunes intimately, and hear the changes and because i have good knowledge of the genre, can hear changes in tunes I've never played before. To me there is no way you can fake ITM. you have to know the music. Sure read the chart as an aid to memorization of to jog you memory. ( a few bars usually has me off and running) but I say. Don't play the tune unless and until you can play it blindfolded no matter what your instrument is.
I had this problem a few days ago with a guitarist,who played out of time on a jig.
I explained to her POLITELY the problem,and even picked up the guitar to demonstrate how to do it.
I got the response,oh was it a jig,I dont really play Irish Trad.
The problem is an overall ignorance irish traditional music practices, like aural transmission, unison playing, tempos (tempi for you music scholars) and rhythm, and tune genres themselves. These are people who saw Leahy on PBS or went to Riverdance a few times or maybe dropped in at Milwaukee Irish fest or Dublin Ohio Irish fest or whatever festival you care to name, and thought, "gee that looks like fun". Many if not most have some prior musical expererience in other styles that do not rely exclusively on aural transmission. Perhaps they might have played some genres of dance music with some superficial similarities ( I'm looking at YOU, classical and appalachian traditional musicians) that do not translate easily, if at all, into an Irish environment. These individuals can accumulate a significant amount of ego that makes it difficult for them to accept that they have to unlearn anything; they've played music for years, don't try to tell them they're doing something wrong!
They can be insecure about their lack of exposure to real Irish traditional music and as a result can be very defensive about it.
Others are just cynical opportunistic hacks who want to learn enough to get a Saint Patrick's Day gig but play bluegrass, rock, country, or classical music the rest of the time.
I know of a classically trained professional musician with a serious degree from a major music school who teaches Irish music part-time, but doesn't sound like an Irish fiddler at ALL. The individual in question has clean, accurate bowing and intonation, precise ornamentation, but no real grit, no lift, no sweetness; it's all about how technical fluency and execution with this person. In my opinion this person's students are being misled rather badly but there are all kinds of rationalizations one can make about the market (American suburban kids, mostly girls with some orchestral or suzuki training, stage parents, etc, with all the attendant illusions and miconceptions such people are likely to have, even if they came from Irish families).
It's a real conundrum that requires a difficult balancing act of diplomacy and firmness. I don't envy any session regulars who have to deal with it. We certainly have our share of such people in my neck of the woods. The best session nights tend to occur when such people are absent!!!
I know that personally, every beginner I have met (including myself) has been terrified to join in and butcher the beautiful tunes and would much rather spend the time listening and aspiring. I think its all about how comfortable you make the session as far as newcomers. If it seems professional then people will be more respectful of what they need to do in order to reach the level of skill involved. If the session is open entirely than its more likely that it will attract learners. Its just sad that those learning are not having enough respect.
Anyone who can't listen can't play music well. That's sort of a requirement. I usually point this out as diplomatically as possible. It's a fact of life. [shrug]
...and if you're listening properly, and to the right sources, you will hear the lift, the nyah, the soul, and then you will try to create that with your own playing.
>I'm looking at YOU, classical and appalachian traditional musicians...
Sorry dude. I'll try and keep the double shuffles and 4 octave arpeggios down to a minimum next time.
You should never underestimate how important it is to actually listen carefully to any type of music which you are interested in learning how to play properly.
I would strongly encourage all musicians to get some serious ear training so they can learn tunes by ear instead of always having to rely on the sheet music.
After playing music for approximately forty years, I have learned the truth of this many times over in every type or genre of music which I have played.
Speaking from my own experience, I can say that this is equally true for ragtime music, the blues, Irish music, and other types of music.
The aural tradition is being challenged. You could say that many Irish traditions thrive under adversity. Here is part of the challenge to aural tradtion;
Check out how easy it is to ignore what your ears tell you . . . yet with a couple of clicks & taps anyone can get O'Neill 's entire collection. http://www.oldmusicproject.com/oneils1.htmlThat Not even to mention the "Tunes" tab right in front of you.
The traditional music world is becoming increasingly literate.Rather than try to force music readers away from their ubiquitous sheet music the challenge is for everyone of the aural tradition to do what you do.Listen & learn ~ or continue to beat ourslves up over what others' do not get. My knuckles bleed constantly. The tradtion has survived worse adversity. Long live the ears in a session!
.
The bottom line is...one can be a lovely player learning to play by ear and without ever looking at a "dot" but there is no way one can ever hope to play well by learning to play from sheet music and barely listening.
Nice summary, Chef P.
And from my perspective, as long as you are listening, nothing wrong with using dots as an aid to learn tunes and share them with others.
I found it amusing how greybeard, earlier in the thread, leaped to the conclusion that we must be talking about idiot guitar players. He obviously has some 'issues' with us strummers......
The best strummer I ever played with was actually first one of the best percussionists I've ever worked with. He picked up mandolin one Summer after someone accidentally left one at his house. His approach was that strumming is primarily part of the rhythm section and was able to inject a lot of "musical" ideas purely along the lines of a percussion role. Now that worked well, but it sure requires a good dose of talent to pull it off tastefully.
It can be really annoying when you travel many miles (at UK fuel prices) to take part in a good session and it is beset by people who spoil it musically.
But if you are playing in a public house, you have to take the rough with the smooth. You can't really ask people to leave or to stop. Also, if it's someone you know, you don't really want to cause offence. You have to hope they will take the hint, visa vis hard stares, etc.
Thanks to all who replied with their suggestions. It is a session that we have, so I would never ask anyone to leave. I have played on an ice hockey team for the last 35 years; we have never had to ask anyone to leave the team that didn' fit in. They always sensed it and left.
So, the session is kind of like that. If the player gives up or senses they do not fit, they will stop coming. If they decide thay are committed to learning the tunes, they will start to listen and slowly wean thenselves from their music. The interesting part is that many players in our session have progressed, and pretty much left this person in the dust; they must sense that.
We have a pretty robust session, the last few weeks we have had 16 musicians with all kinds of different instruments. If anybody here lives in New England, consider checking it out!
Those who do not/cannot listen
Those who do not/cannot listen
When I first started playing at ITM sessions, some musician friends gave me some very good advice--listen to the music. Seems straighforward, but many players do not seem to take this advice. There are those who play what they want, don't bother to learn the tunes, are generally a thorn in the side of other session players. Why they aren't asked to leave, I cannot fathom.
Then there are those who use music to learn the tunes, and don't play badly, but cannot give up the music. I have found when I use music, I am not listening, I am paying attention to reading the music while the tune goes on. I play by ear almost all the time now; I find that I don't have to memorize chords or anything like that because I can figure the tune out by ear now.
I have suggested to a person at a session I run, that they not play next time, but spend their time listening. All I got was resistance, and a real attitude. This same person, when they first started playing, told me I was changing chords at the wrong time, according to the music. They claim they cannot hear the chord changes, but they are memorizing some of the tunes. I would like to see this person succeed, so my question is:
How to I get them to get off their music and just listen?
Any suggestions?
# Posted on July 30th 2008 by Celtic Guitar
Re: Those who do not/cannot listen
ask them to leave
# Posted on July 30th 2008 by llig leahcim
Re: Those who do not/cannot listen
sorry, I'm wrong there. They don't have to leave, just stop.
# Posted on July 30th 2008 by llig leahcim
Re: Those who do not/cannot listen
llig's having a bad night any way! :P
It really is their loss. If they don't realize the importance of listening, then they simply shouldn't be playing this music. I don't exaggerate, I honestly mean that. They are not playing this music properly or doing it any justice. Now, if they are stuck reading music but realize it and live in hope, thats ok. Try and push them to listen more. But if you're meeting actual resistance and aggressiveness, then these guys are not traditional Irish musicians in my opinion.
# Posted on July 30th 2008 by PaddyCmusic
Re: Those who do not/cannot listen
Perhaps you could offer some recordings of how it is done correctly? You could steer them to the thousands of threads here that cover the same subject. Cut and paste a few Michael Gill comments in an e-mail to him/her. That should sufficiently scare them off the dots.
If you are like me and live in an area where ever session player is needed to keep the community growing I can respect how you are trying to encourage this person to continue - and in the right way. Regretfully, sometimes there are a few thick headed trolls that just need to be shown the door. Good luck!
# Posted on July 30th 2008 by Jusa Nutter Eejit
Re: Those who do not/cannot listen
This is apparently not just a problem with novices. I was at a session in Ireland a few years ago where a well-known fiddler would force every tune to go at his tempo and in his rhythm, no matter who started it. This is someone who teaches at week-long schools/festivals, has a tune named after him that's been recorded more than a half-dozen times, and appears on several albums, though he doesn't have a solo recording.
I was recently talking with a major icon in the world of Irish music, and he mentioned, out of the blue, the same thing about the same musician. He also said that it hadn't been a problem when this fiddler used to play a different instrument that isn't held so close to the ear.
So, who wants to tell this guy that he shouldn't be playing this music?
# Posted on July 31st 2008 by GaryAMartin
Re: Those who do not/cannot listen
Hey Ted: "It's a happening...", I checked it out; somewhere around here I have that record. It's still cool stuff.
I wish that I knew what to tell you. You already know this, judging by your comments, but if it's a "gig" situation, part of the job of the musicians is to be making eye contact and interacting with the crowd, and if you're looking at charts, you aren't doing that. I figured that out really early on. AND you're not listening to the rest of the band. I won't go into my disappointment about going out rockin' on a Saturday night only to run into (supposedly professional) bozos reading song lyrics. . .
A couple of years ago I used to attend a "Slow Session". There was this gal there that would whip out her tunebook and play stuff once through. I and the session leader used to get into arguments with her about 1) playing them at least three times through, and 2) losing the book, to no avail. I've recently run into her, and she's turned into a kick-butt ear-learning concertina player. Frankly, I'm a bit proud of her for finally getting it together. I wish that I could be out there and help you whip these cats into shape, and offer you more than pointless stories. But the Michael Gill treatment might be just what's in order. Good Luck, buddy!
# Posted on July 31st 2008 by tomw
Re: Those who do not/cannot listen
Sessions are an interesting mix of social & musical interests. Some are great for listening to &; as they say, playing in ~ 'if you have something to contribute.'
A few are not the best environment for listening. But those are rare.
Reading is not the source of the problem. The tunes become q part of you by totally immersing yourself (aurally). You seek out the best sesions, you listen to the best players in a session, you endlessly listen to recordings, you seek out individuals to play with only 1 or 2 other players outside of session, & you keep returning for more. .
# Posted on July 31st 2008 by Random_notes
*
Some are great for listening to &; playing in if, as they say 'you have something to contribute.'
# Posted on July 31st 2008 by Random_notes
Re: Those who do not/cannot listen
Perhaps you could play a few tunes the person doesn't know. If they ask the name, (in order to find the sheet music), say, "I can't remember, I heard it on an album years ago. Listen, I'll play it again."
Or you could "accidentally" knock over their music stand just as they start playing their favorite song.
# Posted on July 31st 2008 by CleverName
Re: Those who do not/cannot listen
CleverName these people are depraved when they are deprived.
They will merely go elsewhere. They must have the sheet. Do you understand?
# Posted on July 31st 2008 by Random_notes
Re: Those who do not/cannot listen
I think too, one must look at the motivation of the player. I think we can safely say we're talking mostly about guitar players here. the motivation is there (for the most part) for a whistler or fiddler or flute player because ITM is what you play on these instruments an developing the repertoire and committing it to memory are part if the idiom. but most sessions have those guitar (or piano) players who just show up just to have a place to play socially. Ther intrest is more in the playing than in any sort of interest in the genre. They feel that just following along on a chart is sufficient and never learn to listen to the structure of the tune. Don't get me wrong most sessions need a guitar as a foundation to help the tune along, and i often play guitar in my session too, when needed. But I'm a mandolin/fiddler too, so i know the tunes intimately, and hear the changes and because i have good knowledge of the genre, can hear changes in tunes I've never played before. To me there is no way you can fake ITM. you have to know the music. Sure read the chart as an aid to memorization of to jog you memory. ( a few bars usually has me off and running) but I say. Don't play the tune unless and until you can play it blindfolded no matter what your instrument is.
# Posted on July 31st 2008 by greybeardd
Re: Those who do not/cannot listen
I am already legally blind I do not need a blindfold. How I love looking at my fellow sessioneers.
Good evening my friends!
# Posted on July 31st 2008 by Random_notes
Re: Those who do not/cannot listen
I don't think the original post refers to reading sheet music as the problem, but just playing without blending in at all.
# Posted on July 31st 2008 by Greg the Piano Tuner
Re: Those who do not/cannot listen
I had this problem a few days ago with a guitarist,who played out of time on a jig.
I explained to her POLITELY the problem,and even picked up the guitar to demonstrate how to do it.
I got the response,oh was it a jig,I dont really play Irish Trad.
# Posted on July 31st 2008 by Rufus Jameson
Re: Those who do not/cannot listen
The problem is reliance on sheet music which impedes the ability to listen to the tunes and play them in a way that blends in.
# Posted on July 31st 2008 by Celtic Guitar
Re: Those who do not/cannot listen
The problem is an overall ignorance irish traditional music practices, like aural transmission, unison playing, tempos (tempi for you music scholars) and rhythm, and tune genres themselves. These are people who saw Leahy on PBS or went to Riverdance a few times or maybe dropped in at Milwaukee Irish fest or Dublin Ohio Irish fest or whatever festival you care to name, and thought, "gee that looks like fun". Many if not most have some prior musical expererience in other styles that do not rely exclusively on aural transmission. Perhaps they might have played some genres of dance music with some superficial similarities ( I'm looking at YOU, classical and appalachian traditional musicians) that do not translate easily, if at all, into an Irish environment. These individuals can accumulate a significant amount of ego that makes it difficult for them to accept that they have to unlearn anything; they've played music for years, don't try to tell them they're doing something wrong!
They can be insecure about their lack of exposure to real Irish traditional music and as a result can be very defensive about it.
Others are just cynical opportunistic hacks who want to learn enough to get a Saint Patrick's Day gig but play bluegrass, rock, country, or classical music the rest of the time.
I know of a classically trained professional musician with a serious degree from a major music school who teaches Irish music part-time, but doesn't sound like an Irish fiddler at ALL. The individual in question has clean, accurate bowing and intonation, precise ornamentation, but no real grit, no lift, no sweetness; it's all about how technical fluency and execution with this person. In my opinion this person's students are being misled rather badly but there are all kinds of rationalizations one can make about the market (American suburban kids, mostly girls with some orchestral or suzuki training, stage parents, etc, with all the attendant illusions and miconceptions such people are likely to have, even if they came from Irish families).
It's a real conundrum that requires a difficult balancing act of diplomacy and firmness. I don't envy any session regulars who have to deal with it. We certainly have our share of such people in my neck of the woods. The best session nights tend to occur when such people are absent!!!
# Posted on July 31st 2008 by Seosamh Ui Sinan
Re: Those who do not/cannot listen
" it' s all about technical fluency..." sheesh. We need to be able to edit posts on this forum!!!!
# Posted on July 31st 2008 by Seosamh Ui Sinan
Re: Those who do not/cannot listen
I know that personally, every beginner I have met (including myself) has been terrified to join in and butcher the beautiful tunes and would much rather spend the time listening and aspiring. I think its all about how comfortable you make the session as far as newcomers. If it seems professional then people will be more respectful of what they need to do in order to reach the level of skill involved. If the session is open entirely than its more likely that it will attract learners. Its just sad that those learning are not having enough respect.
# Posted on July 31st 2008 by jasten
Re: Those who do not/cannot listen
"clean, accurate bowing and intonation, precise ornamentation"
you're right. I don't sound anything close to that
# Posted on July 31st 2008 by Nate Ryan
Re: Those who do not/cannot listen
Anyone who can't listen can't play music well. That's sort of a requirement. I usually point this out as diplomatically as possible. It's a fact of life. [shrug]
# Posted on July 31st 2008 by SWFL Fiddler
Re: Those who do not/cannot listen
...and if you're listening properly, and to the right sources, you will hear the lift, the nyah, the soul, and then you will try to create that with your own playing.
Or not, and you'll sound sterile and boring.
# Posted on July 31st 2008 by SWFL Fiddler
Re: Those who do not/cannot listen
If someone *won't* listen they won't be any good at any kind of music, whether they look at the dots or 'memorise' a tune.
If they don't understand the need to listen, then they don't understand music.
You can either persevere and hope the light will go on eventually or politely sugggest some other hobby might be more appropriate.
# Posted on July 31st 2008 by c.g.
Re: Those who do not/cannot listen
>I'm looking at YOU, classical and appalachian traditional musicians...
Sorry dude. I'll try and keep the double shuffles and 4 octave arpeggios down to a minimum next time.
# Posted on July 31st 2008 by monkey440
Re: Those who do not/cannot listen
You should never underestimate how important it is to actually listen carefully to any type of music which you are interested in learning how to play properly.
I would strongly encourage all musicians to get some serious ear training so they can learn tunes by ear instead of always having to rely on the sheet music.
After playing music for approximately forty years, I have learned the truth of this many times over in every type or genre of music which I have played.
Speaking from my own experience, I can say that this is equally true for ragtime music, the blues, Irish music, and other types of music.
# Posted on July 31st 2008 by fauxcelt
Re: Those who do not/cannot listen
Yes.
# Posted on July 31st 2008 by Seosamh Ui Sinan
Re: Those who do not/cannot listen
It never ceases to amaze me how people can devote so much of their time to music, but never really listen to it.
# Posted on July 31st 2008 by monkey440
Re: Those who do not/cannot listen
You can lead a man to knowledge, but you can't make him think.
# Posted on July 31st 2008 by fauxcelt
Those who read this thread & chuckle
The aural tradition is being challenged. You could say that many Irish traditions thrive under adversity. Here is part of the challenge to aural tradtion;
Check out how easy it is to ignore what your ears tell you . . . yet with a couple of clicks & taps anyone can get O'Neill 's entire collection.
http://www.oldmusicproject.com/oneils1.htmlThat Not even to mention the "Tunes" tab right in front of you.
The traditional music world is becoming increasingly literate.Rather than try to force music readers away from their ubiquitous sheet music the challenge is for everyone of the aural tradition to do what you do.Listen & learn ~ or continue to beat ourslves up over what others' do not get. My knuckles bleed constantly. The tradtion has survived worse adversity. Long live the ears in a session!
.
# Posted on July 31st 2008 by Random_notes
*
That link stole my glory ~
http://www.oldmusicproject.com/oneils1.html
# Posted on July 31st 2008 by Random_notes
Re: Those who do not/cannot listen
Good Thread Celtic G.
The bottom line is...one can be a lovely player learning to play by ear and without ever looking at a "dot" but there is no way one can ever hope to play well by learning to play from sheet music and barely listening.
Paul
# Posted on August 1st 2008 by Chef Paul
Re: Those who do not/cannot listen
Nice summary, Chef P.
And from my perspective, as long as you are listening, nothing wrong with using dots as an aid to learn tunes and share them with others.
I found it amusing how greybeard, earlier in the thread, leaped to the conclusion that we must be talking about idiot guitar players. He obviously has some 'issues' with us strummers......
# Posted on August 1st 2008 by AlBrown
Re: Those strummers who ask others to listen
I will take issues with strummers who constantly ask for chords yet never learn to play the melody
# Posted on August 1st 2008 by Random_notes
Re: Those who do not/cannot listen
Well, strummers ARE easy targets
The best strummer I ever played with was actually first one of the best percussionists I've ever worked with. He picked up mandolin one Summer after someone accidentally left one at his house. His approach was that strumming is primarily part of the rhythm section and was able to inject a lot of "musical" ideas purely along the lines of a percussion role. Now that worked well, but it sure requires a good dose of talent to pull it off tastefully.
# Posted on August 1st 2008 by monkey440
Those who strum tastefully
"someone" accidentally left a mandolin at his house?
# Posted on August 1st 2008 by Random_notes
Re: Those who do not/cannot listen
It can be really annoying when you travel many miles (at UK fuel prices) to take part in a good session and it is beset by people who spoil it musically.
But if you are playing in a public house, you have to take the rough with the smooth. You can't really ask people to leave or to stop. Also, if it's someone you know, you don't really want to cause offence. You have to hope they will take the hint, visa vis hard stares, etc.
# Posted on August 3rd 2008 by Shepshed
Re: Those who do not/cannot listen
Thanks to all who replied with their suggestions. It is a session that we have, so I would never ask anyone to leave. I have played on an ice hockey team for the last 35 years; we have never had to ask anyone to leave the team that didn' fit in. They always sensed it and left.
So, the session is kind of like that. If the player gives up or senses they do not fit, they will stop coming. If they decide thay are committed to learning the tunes, they will start to listen and slowly wean thenselves from their music. The interesting part is that many players in our session have progressed, and pretty much left this person in the dust; they must sense that.
We have a pretty robust session, the last few weeks we have had 16 musicians with all kinds of different instruments. If anybody here lives in New England, consider checking it out!
# Posted on August 3rd 2008 by Celtic Guitar