The Importance of Practicing Wth a Metronome

It seems I'm forever offering advice to my fellow musician friends about the importance of getting the fundamentals of their chosen instrument(s) under their belt before worrying about learning a bunch of songs that are beyond their current capabilities. Sometimes I am asked for my opinion; at other times I simply offer it up - like the rest of the world.

For someone who offers up so many opinions you'd think perhaps that I was an expert musician, but of course, I can barely play anything myself. Do you need to be an expert to offer solid advice though? I don't think so. Right or wrong, I consider myself to be a pretty good observer, and from my observations and experiences, I figure I can offer some reasonable advice from time to time. Maybe not always, but at least on occasion.

On his DVD Playing Banjo By Ear and Learning The Chords, Ross Nickerson says "when you lose the chord structure of the tune, or the timing, music can simply fall apart." I couldn't agree more. My advice today will focus on the timing aspect of music and the importance of practicing with a metronome.

It seems to me, the majority of people simply refuse to put the required amount of time into this important aspect of their playing. When I ask people why this is, the answer is almost always something along the lines of "I know I should, but it's boring." Boring or not, it's important, and right now is as good a time as any to change your mindset before you develop a bad timing habit even further!

So big deal - it's boring! Get over it! Nobody is suggesting you sit down with a metronome for hours on end and play along with it. I agree - it is boring and if you're not alert, it can put you to sleep. However, if you can convince yourself that 10 or 15 minutes a day with a metronome won't kill you, I think you'll be very pleased with the improvement in your timing.

Some of us think "I don't need no stinkin' metronome." Let me tell you friend - you do. Your timing may not be as perfect as you think. In fact, it's not! Everyone can improve with a metronome no matter how long they have been playing music and no matter how good they think they are.

It never ceases to amaze me when I hear the local yocals say something like "why do we need to practice?" before playing a gig. Ron Block, who plays banjo and guitar with Alison Krauss & Union Station, plays with a drum machine or metronome almost every day of his life. Ron's timing is so flawless that you could probably say the man is a human metronome! Gee, I wonder why his timing is so good? How is it then, that a lot of us think our timing is good enough that we don't need to work on it?

I just want to make sure I have this right. Ron Block, who has been playing music nearly all of his life still thinks he needs to work with a metronome every day to keep his timing up to snuff, but most of us amateurs don't spend 10 minutes a month working on our timing because our timing is "pretty darned good." Some of us don't even know what a metronome is! Is it simply that we just don't care?

Another aspect of playing with good timing is to listen to what others are doing on their instruments when playing music. It's really frustrating to be playing at a certain tempo and then have the tempo of the tune change when someone does their break or begins singing.

Let's face it - as amateur musicians just trying to have a little fun at a jam session, we know it's not likely that we'll be the next Ricky Skaggs & Kentucky Thunder, nor are we trying to be, but does that mean we shouldn't try to improve? Most of us know all too well how "not fun" it is to play with someone whose timing is so bad that you just wish the person wasn't there; they can make a jam session spiral downward real fast. It's not nice having such thoughts about another person, but man!

When we think of how bad another person's timing is we should also question whether our own timing is good relative to the other musicians in the group. In some cases maybe we are the person whose timing is the worst. Who would want that?

I'm not implying that we shouldn't try to help others by playing music with them, on the contrary. However, if the "other person" never does anything to improve and makes it known they have no intention of practicing, it's not long before I won't be inviting that person to my jam sessions. As long as I see improvement or intent to improve, I'm okay with anybody. I still question why anyone would allow me at their jam sessions; I'm just glad they do.

Earlier this morning I was working on that tough lick (Sourwood Mountain) I spoke of in my previous post. After some frustration, I took my own advice and said "it's time for the metronome." Not only did my timing of the lick improve, but at the end of the exercise I was able to insert the lick into the tune without stumbling. That's enough evidence for me.

These days you can get an electronic metronome for very little money; I paid just under $20.00 including taxes for a WC-1000 (shown in image above) . There are also lots of free metronome programs that you can run on your computer. I mostly use a computer program called Weird Metronome, simply because I'm in front of my computer a lot, practicing with other tools such as Transcribe! from Seventh String Software.

Commit to using a metronome for 10 or 15 minutes every day you practice - it won't kill you; it can only help. The boredom excuse just doesn't cut it. Now, get at it!

Ron Block - A Man of Much Wisdom

Ron Block has been a member of the Alison Krauss & Union Station band for over 15 years as banjo/guitar player extraordinaire. At the ripe old age of 43 he seems to be a man of much wisdom. Ron is deeply rooted in his Christian faith. An avid reader of the Bible, I suspect this is where much of his wisdom comes from. I really admire Ron as a human being and as a musician.

I like to visit Ron's web site from time to time; it has so much to offer for musicians and for just anybody that is looking for advice on life in general. Ron recently posted a series of articles under the Music --> Instruction --> Banjo and Guitar section of his web site relating to the study of music. Of particular interest to me is Ron's philosophy about what it takes to become a good musician and guidelines to follow while learning how to play an instrument. Several of the articles repeat the philosophy which really drives the point home, at least for me.

In no way would I suggest that I have the same kind, or amount of wisdom that Ron Block has acquired, but I can identify with Ron's music philosophies wholeheartedly; this is because many of the points he tries to make, which of course are his opinions, are the exact same points I try to make. Ron does a much better job at communicating his ideas than I ever could, however.

I think it's mighty fine of Ron to take the time to share some of his wisdom with us and it's nice to see Ron's view in print; it reminds me that I am on the right track with my musical endeavors. I realize when I offer the same advice it carries very little weight, but it is my hope that you will take Ron's advice seriously, taking the time to evaluate what he is saying. I only have a few years under my belt as a want-to-be musician; Ron has several years under his belt as one of the finest musicians you'll ever meet and he speaks from experience. My advice is for all of us to take some time to read some of Ron's articles and give them serious thought to them. It will be worth your time.

Ron has also provided some free banjo tablature on his site, as well as an exercise or two on string bending which is probably the most recognizable attribute of his banjo playing. That, and of course, his rock solid right hand relating to timing and tone.

In addition to his musical writings, Ron offers many articles on day to day living in the Christian faith. There is definitely some great reading here. He has a section titled "A Reader Writes..." where he answers questions on people's minds relating to living a Christian life. For example, one of the questions he answered was "Can a Christian Play the Ellen Degeneres Show?" There are some very well researched answers in this section of his web site.

You could spend several hours on Ron Block's web site which I think would be time well spent. At first, I found his new web site a bit confusing to navigate. The main menu system is on the right side of the screen; this is where the menu selections like About, Latest, Music and Store are located. When you click on one of these links, that section expands to show more selections. Clicking one of the sub menu items will display Categories on the left side of the screen. You need to click a category to see all of the individual articles.

Oh by the way, if you are looking for the lyrics to A Living Prayer, these are available on Ron's web site under Latest --> Writings --> Music. Ron says "I've put the lyrics and chords here for anyone who is interested in using the song in church or for other services."

The Importance of Transcribing and Learning Solos Note-for-Note

If it was important to Ron Block, Jim Mills and Ron Stewart, then I don't see why it wouldn't be important to me as well. I'm talking about the study methods these great players used while learning how to play 5-string banjo, that cornerstone instrument of Bluegrass music.

I have been criticized a great many times for wanting to play something exactly the way it was recorded on a CD. I've run out of fingers and toes trying to keep track. I am open to constructive criticism, but this particular criticism is something I have never understood. I have always asked "what is so wrong with it?" One frequent response I get is "you're setting yourself up for failure" and another common response I hear from people is "I like to put a little of myself in there."

Ron Stewart studied every lick that Earl Scruggs and J. D. Crowe ever played on a banjo and yet, I have very little trouble being able to tell when Ron Stewart is playing. After learning all he could from these two masters of the 5-string banjo, Ron went on to add his own variations and techniques. Studying the masters did not hurt Ron one little bit.

Jim Mills studied Earl Scruggs' music and techniques in great detail. Despite the amount of time Jim put in learning as much as he could about Earl's playing, Jim Mills has one of the most distinct sounds I've ever had the pleasure of hearing as it relates to traditional style banjo playing. I can tell Jim's playing a hundred miles away.

On his web site, Ron Block just posted (Oct 21, 2007) an article titled The Importance of Transcribing and Learning Solos Note-for-Note and says "there is incredible value in transcribing and learning things note for note - especially from people like Scruggs or Crowe." Ron also discusses the importance of experimenting with one's own sounds.

The point here is simply that Ron Stewart, Jim Mills and Ron Block all studied what the masters before them had done and for the very same reasons, I study the techniques of my musical heroes as well. Is there anything wrong with that? I say if it helped these three great banjo players get to the level they are at today, then I sure don't see how it could hurt me. I really can't understand why people get on my case about this particular issue!

I didn't even have to read any articles or hear from these people in order to know this would be a logical step toward learning how to play a banjo. The logic is simple. I don't know how to play a banjo and these guys do. Furthermore, these guys are producing sounds that I just can't get enough of; therefore the logical choice would be to learn as much about these folks and their playing as I can. I want to make the same kinds of sounds with my banjo that these guys are making with theirs.

I'm not worried about sounding too much like any of the people I'm studying. And even if I could, that day is a long, long way off. There will always only be one Earl Scruggs, one J. D. Crowe and one each of Ron Stewart, Ron Block and Jim Mills. My style, if there is one, will come automatically as I try to integrate a combination of all I've heard. Actually, I'm already developing my own style; on occasion I add something that I never hear from any of the pros I've mentioned. And no, I'm not talking about the mistakes I make.

If you are an aspiring Bluegrass musician and you find yourself not producing the "grassy" sounds you are after, I highly recommend you start paying more attention to the sounds of your chosen instrument (or vocalist) when listening to your favourite CD's. You might want to get a little more curious too, and ask yourself "how are they getting that sound?" You might just as well learn from someone that already knows what they're doing.

In addition to becoming a bit more curious while listening to your favourite CD's, take advantage of the unprecedented amount of fantastic instructional material available by way of the internet, books and DVD's; much of it is taught by the very pros we listen to every day. Other tools are available as well, such as software capable of slowing down, speeding up or changing the key of a song in real time. One such piece of software is called Transcribe! which is available from Seventh String Software. I find this tool to be invaluable and certainly worth the $50.00 I paid for it.

I've tried to point out that when it comes to learning how to play an instrument, I'm not all that different from some of our favourite Bluegrass musicians. Now that you know the viewpoint from some of the pros, maybe my method for learning will seem more relevant to you. At the very least, you are now more aware of the reason I find it so important to get as close to the original recording as I possibly can. It is not necessarily because I want to sound exactly like Jim Mills or whoever, it's what I'm learning along the way that counts most.

You'll have to come up with a very compelling reason to get me to change my approach on this topic. By the way, for the record, I wouldn't mind sounding like Jim Mills on the banjo. Now, get off my case and go practice!