 Bringing Your Autoharp to a Jam Session |
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| Bringing Your Autoharp to a Jam SessionMost musicians find that playing music with other people keeps them in practice, helps them learn new things, and builds relationships to other musicians. In fact, many members at jams and "club meetings" I've attended seem to come for the friendship and encouragement even more than the sheer joy of playing. There is nothing wrong with that - playing music together for any reason boosts your brain and emotional health, and that of those around you. That said "jam sessions" don't all play by the same unspoken rules. They vary according to the genres of music played, the kinds of instruments that predominate, and even the part of the country you're in. I don't want to scare you off. After all, the more well-prepared people who bring autoharps to jam sessions and similar gatherings, the more autoharps will become accepted at the grass-roots level by fans of acoustic-based music. But I did want you to have some idea what you're walking into. :-) Note: This started out as a companion article our article Jamming 3-Chord Songs on 12- and 15-Chord Autoharps." I wrote it because friends with 12- and 15-chord autoharps were havng trouble playing along on some favorite songs at Folk, Bluegrass, and Country jam sessions, club meetings, and so on. But the truth is, even having the best possible 21-chorders for that kind of music won't necessarily make it easy. General PrinciplesBe Able to Play - First of all, get comfortable with your instrument. You don't have to be a virtuoso - there are likely to be enough virtuousos in the room that they don't need any more. But you should be able to play or at least strum along on much of the likely repertoire of the group. Know at Least Some of the Songs - Most jam sessions have at least an informal list of songs that most regulars know pretty well. If you can find the list and what keys they play in, you can always google "chords for X song in Y key," so you can practice ahead of time. Some clubs have collections of pdf lyric sheets that include the chords. Downloading those and looking them over is a very big help. Other clubs may work from a printed resource, such as the Folk collection Rise Up Singing or a Bluegrass "Fake Book." These books provide the words and chords for anywhere from 150-600 songs in that genre. If you find out that a jam uses such a resource, you may want to order the book and try to learn to play the songs you're familiar with. That will also help you be more prepared for the songs you don't know, too, as many of them are likely to use the same chords and similar chord progressions. Don't get overwhelmed, though. There a lot of ongoing jams where basically the same 30 or so songs get played every time. Once you've attended a jam a couple times, you'll know which songs you probably should learn well, which will be a very small percentage of the available songs in the genre. Expect to Encounter Cultural Differences - Even in genres you're familiar with. For example, one "Bluegrass jam" may focus on old-timey songs and playing styles, while another one may focus on "Newgrass" and newer songs. Some jams that center on traditional instruments like Appalachian dulcimer nevertheless play more pop and rock songs than they do traditional tunes. Even "Folk jams" may gravitate towards 1950s Folk acts like the Kingston Trio or 1970s "Folk rockers" like the Eagles, or anywhere in between. Also, some jams and similar gathering include singing and some don't - the latter focus on the members being able to play the melody on their instruments. Don't feel bad if you are just chording along; that leaves more room for the virtuosos. The good news is that jamming outside of your comfort zone will improve your playing and make you a more flexible musician. And there's nothing to stop you from tracking down - or starting - a session where you feel more at home. Expect to Encounter Operational Differences - Most jams work about the same way, with folks sitting in a circle, picking songs by round robin. Often they expect the person who picked the song to lead it. But if you're not comfortable with the repertoire yet, you can "pass" on your turn to choose. The first time around the circle in a new jam, that might be the best choice. But even if you pick a song you want to do, you may be able to ask one of the more confident members to lead the song. Pay attention to see if other folks are allowed to do that. But details in how jams work may vary. Consider just playing quietly the first time you show up, and keeping your eyes open. Beyond that, each long-established jam will have unspoken "rules." For example, one local Bluegrass jam traditionally sings a verse, then has a banjo solo, then they sing another verse, followed by a mandolin solo, and so on. If you're leading the song, you have to indicate by name or pointing the person you want to take the next solo (try to "spread the wealth"). If you sing two verses in a row, you throw them off their game. And you have to keep the song going long enough for everyone who wants to take a solo to do so. The next song repeats the process. How do you know when to stop? In some local Bluegrass jams, you seize control of the song again by singing a verse and sticking your leg out toward the center of the room like something from "Hokey Pokey." Do they do that at Bluegrass jams in, say, Arizona? I have no way of knowing. Joining a JamBe In Tune - Make certain your instrument is in tune before you leave the house. (If your autoharp hasn't been played for a while, you should probably tune it twice the day before the jam and check it again before you leave the house.) And listen during the jam to make certain something hasn't gone so far out it is noticeable. Be Respectful - Once you're in the room, the chief word is "respect." The first time or two you're there, play quietely, keep your head down, and pay attention. Most people will be very glad you joined them. Folks who only attend once in while may even assume you've been there before. But notice how the jam operates. Play Nice- When you're playing, be certain not to overpower people who are singing or taking solos. Drop down in volume if necessary. No, that won't apply as much to Bluegrass jams with tone-ring banjos and Martin guitars, but it will apply in dulcimer clubs. Stay on the Beat - Even if you have to drop out for a half-measure once in a while to be sure. If you have continuous trouble with this, consider practicing at home with a metronome app on your phone, and with recordings of the songs the jam often plays. When in Doubt, Lay Out - If you're having trouble following a song, drop out or play very quietly, then learn it on your own. Silence is Golden - Avoid playing your instrument between songs. Expand Your Repertoire - Notice which songs get called most frequently and be certain to learn them specifically, so you're prepared for next time. Sing Along When You Can - If other folks (plural) are singing, sing along on the words you know. Harmonize if you can. (In full disclosure - as a Folk Singer, I often sing whether anyone else is singing or not.) Ignore Jerks - Don't bother getting offended by divas who "know more than you." I've been "corrected" any number of times by people who learned a different version of a song, or a different way to play an instrument than the ways I learned from the genre's leaders in the 1960s, and who think their way is the only right way. I try to just nod and let it go. Don't Be a Jerk - Don't "straighten anybody out." If folks really are playing something wrong they've probably been doing it a while, and it's not your job to ruin their fun. Be a Blessing - Above all, be humble, friendly, and supportive. For all you know, the person two chairs over is even more nervous than you are. Kinds of Jams You May EncounterWest Central Ohio has no Autoharp jams, but we have several Bluegrass jams and a number of Appalachian dulcimer clubs that get together to jam every month. And a few Folk jams that come and go.You mght have more opportunities or fewer where you live. This is just a list of things you may encounter at different kinds of jams. Autoharp Jams and Club Meetings - The best case is if you can hook up with a local autoharp club, or at least travel to regional festivals that feature autoharp. Most members will be sympathetic and helpful. Sadly, you may run into at least one person who tells you that you have the wrong kind of autoharp, or you're holding it "wrong" or some such. It is true that some kinds of autoharps are more useful for certain music genres. But no autoharp is optimum for every kind of music. Furthermore, most 21-chord owners will be unconvinced that you can play even 3-chord songs in A and D on a 12- or 15-chorder. But you can, sort of, using the workarounds from our Jamming 3-Chord Songs on 12- and 15-Chord Autoharps" article. Learning those workarounds well will silence your critics. Let me repeat my first statement for emphasis: most members will be sympathetic and helpful. Folk Jams - As mentioned earlier, "Folk jams" may use and depend on music written any time between, say 1100 and 1974, but each jam may have a different "flavor." Most tend to work within some 10- or 12- year period between the "Folk Revival" era (think Weavers) and the end of the "Folk-Rock" era (think Eagles). They will focus on acoustic-based music, especially guitar-based music. Most songs will tend to be in G or D, but C, A, and E also turn up. If you have a 12- or 15-chord autoharp, practice up on playing in D and A according to our tips in this article. Again you can't play in E on any standard 12- 15, or 21-chord autoharp, but you can play in E on a "Folk- and Blugrass- friendly" autoharp. Bluegrass Jams - In some ways, this genre might have the easiest songs to follow - many of them will be three-chorders. The key of G will predomiinate, because that's Bluegrass banjo pickers' favorite key. But F, C, D, A, and E might come up as well. You will not generally have to worry about playing too loudly. Martin Dreadnoughts and Gibson Mastertone banjos were designed to drive barn dances without amplification. The "Hokey Pokey" move of putting your foot out on the last verse or chorus of a song you're leading holds true in many parts of the country. Again, all 12-, 15-, and 21-chord autoharps support F, C, and G well. D and A are "iffy" on 12- and 15-chorders but there are "workarounds." The only autoharp configurations that work for E are special "Folk- and Bluegrass-friendly" autoharps that you can track down or create. Dulcimer Jams and Club Meetings - Traditional Appalachian dulcimers could be played in any key, but when dulcimer players get together, they nearly always play everything in D. They also play chords (which isn't traditional), but that won't mess you up. Again, if you don't have an autoharp that supports the key of D well, be sure to practice playing songs in D before you show up. Many dulcimer clubs will play from "tabs" (tablature pages) that show the members which frets to press Fortunately for you, dulcimer tabs usually include the chord names; just ignore the rest. And don't bother trying to follow any DAA vs DAD arguments - life's too short. The dulcimer clubs I've attended don't tend to have "breaks" for solos like Folk jams might and Bluegrass jams will. They play through the song several times with everyone playing melody and or chords as their skills allow. But yours might have solo "breaks," so pay attention. Also they seldom sing, though if I lead a song, there will be singing. :-) Volume-wise, if only Appalachian dulcimers (also called Mountain and Lap dulcimers) are in the room, you may have to watch your volume. If there are hammered dulcimers or other instruments in the room you might not have to be quite so careful, unless folks are taking turns soloing or some such. Celtic Jams usually play songs in C, G, or D, though if there are fiddlers, there may be some tunes in A. Most songs are 3-chords, though there may be chord progressons like C to Gm you don't usually encounter elsewhere. Obviously, having vocal/chord sheets wlll help. The members may have a repository of them you can get a copy of or download. Ukulele Jams usually play songs in keys that are easy for ukes, including F, C, G, and D. They're more likely to play old pop songs than most other jams, so expect chord progressions you wouldn't necessarily encounter in more Folk-based settings. Again, most clubs have a repertoire of chord sheets that should help you navigate unusual chord progressions. One uke by itself may not be very loud, so if anyone is soloing, be careful of your volume, but if five or ten players are playing at the same time, you probably don't have to be too careful. ConclusionAbove all, be prepared, be in tune, and be respectful.Jam sessions may seem scary if you've never done one before. But most attendees in most jams started out exactly as you will, not quite sure what to expect or if you're quite up to it. Most people in most jams will be very glad to have a new member and will pretend not to notice any mistakes. The best part is meeting other folks with similar interests. And I enjoy making music with folks from all kinds of backgrounds - my skills on any of the instruments I play need stretching. And bringing an instrument that most members have never been in the same room with is a good way to help other folks broaden their own musical horizons, even though I'm no virtuoso. "Paul, why would you bring an autoharp to a dulcimer club meeting (or Bluegrass jam)?" Or "Why would you bring a bowed psaltery to an autoharp club meeting?" Because it always draws questions and gives me the ability to promote one more arcane, but deserving instrument. Above all, be gracious and have fun! Other Autoharp Playing Resources
Next StepsBy now, you've hopefully figured out if you can "get by" on a song or two without making big changes. Or you may decide, in time, that at least some tweaking would save you a lot of hassle in the long run.Other resources you may find helpful include:
ConclusionThe most important thing is to have fun with your autoharp. There is no one "right way" to play it, no matter what some "experts" say. You learn all kinds of things about music just by playing one. In fact, a professional acoustic guitarist just told me that getting his hands on an autoharp when he was young taught him so much about music that he was motivated to take up guitar. Some 40 years later, he's the premier acoustic guitarist in our region.So there's no downside and a lot of upsides to learning and playing autoharp. And if you can jam with other people, that's even better.
And please stay in touch! * These interrelationships have a name - the "Circle of Fifths" because of how the chords are related on the scale (G is the fifth note on the C scale, D is the fifth note on the G scale, A is the fifth note on the D scale, and so on). Almost all musical forms make use of them. But these structures form the backbone of most songs in Folk, Bluegrass, and Country genres. You don't have to memorize this stuff, but if you play in these genres long enough, you'll internalize them well enough to hear, and even predict the chord changes. Return.
**A lot of worship composers write everything in the key of G on their guitar, and they use C9 as a "cheat" for going between G and C quickly. But then the music publish transposes the song up to Bb or D. So everywhere the composer's original scratchings specify C9, the published sheet music specifies Eb9 or G9, neither of which are easy to play, and neither of which make any harmonic sense in the arrangement. This is just one of countless nonsensical chord suggestions that find their way into quick-and-dirty modern sheet music. Return. >
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