Oldtime Jam and Irish Session - lessons in etiquette

While on a recent visit to Los Angeles I had the good fortune to attend both an oldtime jam and an Irish session.  There are some pretty major differences, and some subtle ones, between these two types of music gatherings so it's good to have a decent understanding of this.

The oldtime jam I attended is the once a month 4th Saturday jam at the Audubon Center at Debs Park led by fiddler (and guitarist and banjo player) Joe Wack from West VA.  I got to the jam a little early and was one of the first 3 people there, but I got the impression that I was expected to participate right off the bat.

Oldtime Jam at Debs Park (taken on a different day than when I attended)

One good thing about an oldtime jam is you almost always know where your tonal center is because instruments are tuned to a certain key.  We started in the key of G.  With oldtime even if you think you know the tune already (based on its name or version) it's best to listen for any unique aspects the lead player or group adds to an otherwise familiar tune before just jumping in with your rote version.

However, in oldtime what most people of a certain level of confidence do is start playing by the 2nd or 3rd time through the tune (even on a tune that was previously unfamiliar), adapting your interpretation as you go until you hopefully start to get it before the tune is finished.

At this jam the tunes were played several times through so you had an opportunity to really dig in, and I tried to not let my first impressions of a tune color my ability to adapt on further repetitions.  I felt more comfortable at least trying to play on unfamiliar tunes rather than just listening, unless a tune was really notey and I knew that I had no chance of actually playing anything resembling it!

Another characteristic of this oldtime jam, and most others I have attended, is that tune titles are clearly stated before the tune starts, and if you happen to miss the title you are free to ask about more information such as source, version, et cetera without risk of penalty or being labeled as a poser.  As a guest at this jam I was quickly asked if I had a tune I'd like to play and I came up with a suggestion and later had another opportunity to think of additional tunes.  It was a good time, even if some of the key members of the LA oldtime scene were absent on this day due to an out of town gig.

I approached the Irish session a little differently...trying to get there a little after it had started but due to lighter than expected traffic I walked in with my mandolin case just as they were getting set up.  This was the Tuesday night session at Timmy Nolan's in Toluca Lake hosted by Patrick D'Arcy and Dan Conroy and usually featuring fiddler Kira Ott.

Timmy Nolan's session 08/26/2014 (photo by Laura Fields)

Instead of instantly playing in the session I watched from nearby but was soon invited to take a chair around the table.  Sitting in on an unfamiliar Irish session is more intimidating than an oldtime jam, and this session in particular is very advanced.  It is an 'open' session, but then again not necessarily open to lowest common denominator players who would inadvertently take away from the craic.

I knew I wasn't at their level, but I also know that my mandolin is not as disruptive as some other instruments, which allows me to "noodle" more than what would normally be considered OK to do.  So I figured what the hell as I took a less than prominent seat.

With Irish music nobody expects you to play along if you don't know the tune.  I tend to break that rule somewhat if I can get a handle on the tonal center and/or overall shape of the tune, but I do so quietly and try to pay attention to any body language that indicates that I shouldn't be doing such a thing.  If I played rhythm guitar or bodhran, or a louder melody instrument like accordion or flute, I would not be allowed to take such liberties, but a discreetly played mandolin is drowned out anyway in this environment.  That said, I did a lot of listening and not playing along, which as I said is perfectly OK to do at an Irish session.

Tune titles are almost never given at an Irish session, and since you're not really ever in a certain key Irish sessions have a much looser feel than an oldtime jam (in some ways), requiring the participant to do a lot of reacting on the spot to what he or she is hearing as one tune segues into another.  I find that to be exhilarating.  It's alright to occasionally ask what that tune was, but it's best to bring along a recording device (if given the approval of the session leaders) and simply record the tunes and learn them by ear without worrying about the title of the tune.  You can find that out later in your journey.

Another cool thing at the Timmy Nolan's session, which is quite common at the more advanced Irish sessions, is that sets of tunes were not necessarily pre-determined and the lead melody players (Kira and Patrick) would kind of decide on the spot which tune was to be next in the set and say such things as "D mix" or "G" to the rhythm guitar player.  It doesn't always work - sometimes this impromptu approach fails even in the hands of professional players - but that's OK.  It's part of the fun.

Having a Guinness or two is part of the culture at an Irish pub session, but thankfully I kept my drinking to a minimum at the Timmy Nolan's session so that in hour three near the end of the night when I was finally called on to lead some tunes I had enough faculties intact - coupled with nerves (remember, Guinness gives you strength) - to lead on a couple of slides since the session had been noticeably absent of any jigs or slides.

The last thing I'll mention is that oldtime jams are both "complete" with just fiddle and clawhammer banjo and simultaneously never complete...meaning that each additional instrument, whether it's another fiddle, banjo, guitar, et cetera, is OK to participate even if you're the 20th person sitting in on a circle.  (Except for bass I suppose!)

However, a proper Irish session feels complete when the "right" assortment of instruments are present, although determining what that "right" assortment is open to many variations.  There can certainly be more than one fiddle in the circle, but if you are a rhythm player or a bodhran player, for example, you are kind of shit-out-of-luck if there's a better player there.  It doesn't mean you don't get to play at all, in most cases, but it does mean that you wait your turn and spend a lot of time listening!

I really value these opportunities to take part in unfamiliar sessions and jams.  They are nothing, if not, learning experiences that can make you a stronger, wiser and more confident player in the long run.

The InishTrad Session Guidelines

InishTrad is a community based music project in Inishowen Ireland that provides adult, beginner/intermediate Irish traditional musicians with an opportunity to play together and practice new tunes in a welcoming environment.

InishTrad hosts a regular Sunday evening session at the Excelsior Bar in Buncrana.  Regular participants bear accordions, guitars, banjos, fiddles, whistles and occasionally mandolin.  The repertoire has expanded to over thirty tunes played on a regular basis.  A couple of new tunes are added each month, presented as sheet music and recordings on their site.

Upon reading Inish Trad’s Session Guidelines I realized that they were worth sharing.  I particularly like the statements "we are never in a hurry", "a good listener makes a good player", "if the music sounds too fast it probably is, if it sounds too slow it is probably just right" and "listen carefully to the other musicians and be aware of how your playing is adhering to (or not adhering to) the set tempo".

While these guidelines apply only to the culture of the InishTrad session, there’s a lot of helpful info within and I might steal some of this language for myself!

InishTrad Session Guidelines

As the attendance has increased at InishTrad’s Sunday Slow Session we thought it would be useful to set some guidelines to help any musicians joining us on a Sunday. These guidelines have been put together for all of our benefit.

First, we all approach the music in a relaxed and comfortable manner. As the main focus is to learn to play tunes with appropriate and musical style we are never in a hurry. If you find that you are in a hurry to play, well…take a breath, lean back and enjoy all that is happening around you.

A calm, focused approach is best to learning traditional music, and a good listener makes a good player. If you are not sure of the tunes or your ability, try to listen more than play in the beginning. As you become more proficient and confident join in more.

Tunes

We have a specific list of tunes that we are currently working on, and while we MAY entertain the recommendation of a new tune, the chances are that we will want to work on the InishTrad tune list carefully selected from those recommended by our workshop mentors, so don’t be disappointed. We make an effort to play each tune in a set at least 3 times or more before moving on to another tune.

It is really easy to ruin a session by insensitivity to what is going on around you. If you play too loud, fast or in the wrong key you will stick out like a sore thumb, be aware! Listen for key changes, tune changes and tempo changes.

If the music sounds too fast it probably is, if it sounds too slow it is probably just right. If you can’t hear all the other instruments you’re probably playing to loud, if you can’t hear your own instrument you’re probably playing too low.

Tempo

A slow play session is a session that plays the tune at about half speed or less. As we learn the tune the pace will often progress to three/quarter speed. The overall goal of the session is to provide a supportive and friendly environment for the practice and playing of tunes in the traditional Irish style.

The tempo for a tune (or set of tunes) is set by the musician who leads the tune. Do not speed up a tune beyond the set tempo. This is easy to do, especially if there are a large number of players present and the group is spread out, so listen carefully to the other musicians and be aware of how your playing is adhering to (or not adhering to) the set tempo.

If you find the tempo set for a tune too fast for you to maintain, stop playing and listen. When the tune or set is finished, you are welcome to ask that the tune be played again more slowly, and the group will be glad to oblige you by starting again at about ¾ speed.

Remember that it’s better to play a tune slowly and well than quickly and badly.

Encouragement

We want to encourage each other in the playing of this music. We especially ask that all musicians be respectful and helpful to each other (this doesn’t count “slagging”) regardless of playing ability. If someone is singing or playing, please be quiet. Everyone is making a contribution to the session, for which we’re happy. Be generous with your help and encouragement. We believe that every musician can learn something from another musician.

Have fun!

Enjoy yourself but please be considerate of your session mates. This is the most important point of all. We’re here to enjoy our music, and to build musical friendships that will last for years.

Ron Gentry's Ukulele Jamming Tips (applicable to all types of music jams)

The River City Ukulele Society is a ukulele enthusiast organization in Richmond, VA.  They hold open jam sessions at The Cultural Arts Center At Glen Allen on the first and third Tuesdays of each month.  Jam Leader Ron Gentry has distributed a list of ukulele jamming tips that actually can apply to all types of music jams regardless of whether it’s a ukulele jam or some other kind of music.  These "Tips" are just that...tips.  They are intended as helpful hints to making jamming more enjoyable for all. 

Ukulele Jamming Tips

By Ron Gentry

Basic Tips
Be in tune before starting. Whenever in doubt use an electronic tuner.

Be on the right chord.
Learn the chord changes as quickly as possible.
As necessary, watch the left hand of someone who knows the chords.

Stay with the beat. Don’t rush, drag, or lose your place in the song

Watch your volume (No amplified instruments, except a U-Bass).
Allow the singer or person taking a “break” to be easily heard. If you can’t hear him/her, play quieter.
When it’s your turn, make sure you are heard.
Be aware that your instrument (especially banjo ukes) may not seem as loud to you as to someone in front of you.

When you lead a song, know the song “key” and all of the verses and chords.

When performing:
Keep your music stand as flat and low as possible.
Look up from your music as often as you can.
Smile and make eye contact with the audience.

Play songs out of the two River City Ukulele All Stars Tune Books or provide handout copies of the song(s) you are leading.

If you aren’t providing copies of the music, suggest songs easy enough for everyone to follow (4 chord limit).

Be aware of the common denominator of ability when picking tunes and tempos.

Whomever kicks off a song determines the key, tempo, and leads the group through the song, signaling who takes a “break” and when to end.

The person leading the song may sing it differently from the way you remember the song. You must listen and follow the leader…do not try to impose your version of the song.

If a vocal or an instrumental “break” starts late, listen for whether it is starting from the top, or from a later point in the song.

If players realize they are at different points in the song try to resolve it quickly, usually by falling in with the soloists even if he/she is mistaken.

If everyone but you gets lost, follow those who are lost.

When a singer doesn’t start a verse on time, keep playing the root or “I” chord and wait until the singer starts before going to the chord changes.

Use signals to help everyone end together; foot up, hold up instrument, end after one last chorus, or repeat of last line, or someone says “last time” or “turn it around”.  Listen for instrumental “licks” that signal ending, i.e. “shave and a haircut” lick.

Etiquette Stuff
When re-tuning or checking your tuning, wait your turn.
If someone is tuning, avoid any playing.
When everyone is finished playing, you shouldn’t play any notes you have left.
Refrain from noodling around on a tune between songs.

Thanks Ron!

A Tune List for the Ashland Jam

The Ashland Jam that I host, where we play both Irish and Old-Time tunes, is going pretty strong.  Different assortments of people show up every time, and it’s never quite the same from one time to the next.  Anywhere from 8 to 15 people are usually there.  There’s a strong sense of the unknown, which is kinda' cool.

I love it when more advanced players with a wider base of tunes show up, but sometimes it’s up to me to provide the lead melody.  So, I’ve worked pretty hard over the past year and a half to build up a repertoire of about 100 tunes that I can lead on, even if it is just a basic take of the bare bones melody at a medium pace.

To improve upon the flow of the jam and hopefully make it more fun for all, I've created a tune list for others to use as a reference when making selections (with links to audio for learning by ear).  I’ve only included tunes that I expect to be able to play from memory on any given Saturday.  As the repertoire grows, more tunes will be added, while some may drop off.

That list can be found here.

Of course, when certain melody players are present, the unofficial list instantly widens and those players are welcome to draw from any of the hundreds of tunes available to them.  There’s no reason to stick to this list.  But, for rhythm players and those just starting out, I hope this list will be helpful.

Midnight Brewery 6/15/13

The above picture is from a special jam we had at Midnight Brewery this past June.  There were no shortage of melody players that day!  

Ice Cream Truck, My Source for Turkey In the Straw

I'm only partially joking with that post title.  Think about the tune Turkey in the Straw that you hear coming out of an ice cream truck.  To me that's as good of a place as any to start developing your interpretation of the tune. The melody line and intonation are clear, providing a solid foundation from which you are free to construct your own arrangement.

I believe there is a melodic identity at the heart of all good tunes...an "ice cream truck version" that is independent from any one musician, source, style or instrument...an equal playing field that allows everything from a West Clare jig to a Kentucky fiddle tune to be incarnated side by side regardless of who originally played them or where they come from.

I play traditional Irish and old-time tunes because A) they are great stand-alone melody lines and B) there are other local musicians who like to get together and play these same tunes in unison.  If folks in my area played a Norwegian Two-Step repertoire or Southwestern O'odham fiddle music, then I'd probably be inclined to learn some of those tunes as well!

Session and Jam Manifesto

Each jam has its own sense of etiquette, but these are the points I strive to keep in mind at the Ashland session I co-host.

Traditional music is social.  Remember that it's just as much about being out for a coffee or a drink as it is about playing.  Consider it a successful day if a lot of fun and laughter was had, even if some incorrect notes were hit.

Keep it a friendly, accessible jam that attracts good players and actively welcomes beginners.  It's all about everyone playing and learning together - developing and honing skills and techniques.

We do both Irish tunes (jigs, reels) and old-time fiddle tunes, with the occasional Celtic or bluegrass song.  Keep the focus on those styles and don't allow it to drift off into additional kinds of music.

Encourage people to play by ear, but be sympathetic to those who still rely on sheet music. Encourage everyone to participate even on stuff they don't know.  Although it's OK to sit out if you like.

Place no restrictions on the number of similar instruments (guitar, bodhran...this is more of an Irish thing), and be liberal with your definition of "traditional" instruments (a plugged in uke bass is fine for example, as is a piano accordion playing old-time).  Do emphasize good timing and consistent pace.  Taste trumps speed/dexterity.

Continue to introduce new tunes and have others bring their favorite tunes to share.  Allow the character of the session to be slightly different each time based on who is there and what they bring to the table.

Participants should leave feeling motivated and empowered to learn more, wanting to improve and wanting to return!

Traditional Music in Richmond and Ashland, Virginia

Traditional Fiddle Tunes Sound Better Than They Sound!

Richmond, VA seems like a likely place for the nexus of old-time fiddle music and Irish trad.  It's not far from the mountains of Appalachia - a few hours drive to many of the major old-time festivals, such as Clifftop, Galax, Rockbridge and Mt. Airy, where hillbilly music thrives.  Richmond is also a fairly large, urban environment with Washington DC just 2 hours up I-95 North.  Another 40 miles gets you to Baltimore, then beyond that is Philadelphia, New York and Boston.  Celtic traditional music is strong all along this Mid-Atlantic and Northeast region.  Richmond also has its own annual Folk Festival taking place over 3 days each October with attendance around 200,000, making it the biggest folk festival in the country...even bigger than the national one!

Richmond, Virginia

The Richmond Folk Festival certainly hasn't hurt the participation in folk music by regular folks at a local level, and the fiddle music of Appalachia as well as the traditional jigs and reels of Ireland are now very well represented here.  The best examples being the Sunday afternoon old-time jam at Cary St. Cafe near Carytown and the 2nd and 4th Wednesday Irish Session at Rosie Connolly's in the city's Shockoe Bottom district. When combined the music covered between Cary St. and Rosie's is exactly the kind of stuff I want to be playing.  Strangely, (or not surprisingly?), only a couple other folkies besides me attend both of these meetups.  It seems most traditional and roots musicians, while aware of both the Celtic and Appalachian traditions, are either/or.

The reasons a person might voice for not liking Irish or Old-Time music are also the reasons for liking them:  Old-time with its crooked, repetitive, stand-alone tunes, open-tunings, regional quirks, and syncopation.  Irish with its multiple time signatures (4/4, 6/8, 9/8) and tune types (jig, reel, hornpipe, slide), noteyness, tendency toward "unusual" tonal centers like E-dorian, and tune sets of constantly changing keys.  These characteristics are what make each of them great, and what makes them an either/or for the majority of players.

I came to both styles of music at the same time, as a complete outsider, with no family connection, no personal history, and no familiarity with either idiom.  As a result I like both musics almost equally and see more similarities than differences.  I would consider both to be musically complete - containing all the melody and rhythm required when played by a solo instrument, but also conducive to an ensemble format where 20+ players can all play together.

The Blue Ridge Mountains - just west of Charlottesville, VA

Irish and Old-Time each come from aural traditions where you learn by ear and play by heart, forgoing classical training and scales and exercises in favor of simply learning the tunes.  There really aren't any other music communities happening in Richmond where large groups of amateur musicians get together simply for fun to play instrumental folk music in unison without taking "breaks" or solos.  Not blues, not jazz, not bluegrass, not acoustic guitar jams, not ukulele clubs.  Nope - in that respect Old-time and Irish are pretty similar...and valuable.

I cherish both the Cary Street Old-time jam and the Irish session at Rosie's as places to hear each type of music in a pure form from experienced musicians.  Cary St. is like a mini festival jam, where you get to go into a hypnotic, zen-like state for 3+ hours in a Deadhead bar on a Sunday afternoon while the music passes right through you at breakneck speeds.  Meanwhile, the Rosie's session takes place in Richmond's best and most authentic Irish pub, where the craic and the Guinness both flow freely.  Mad amounts of tunes come and go during the course of an evening.  As an ancillary member and newcomer to each of these gatherings, at this point I observe as much as I participate, although with each passing week I hope to understand more.

Call me naive, but I enjoy taking the music that I'm hearing at both of these sessions and introducing it to Ashland, the small town about 15 miles north of Richmond where I live, as part of the Ashland Old-Time Jam and Irish Session, 10am-1pm every 1st and 3rd Saturday in the listening room of Ashland Coffee and Tea, which I helped start earlier this year and continue to host.  I wish I had a better name for this friendly hootenanny.  The terms "Irish" and "Old-Time" seem so narrow and cliche.  Maybe Trad Festival Jam is another way of naming it.  It's that sound you hear at 11pm while walking the grounds of the Rockbrige Mountain Music Festival, combined with energy of the Tuesday night session at Brogan's Pub in Ennis (County Clare) Ireland.  That's what we're searching for and hoping to emulate.

Ashland, Virginia

Anyway, you can think of Ashland as an old-time jam that includes tunes in 6/8 time, and/or as an Irish session where individual tunes are played multiple times through.  The way I see it, both styles cover the tonal center/modes/keys of D, G and A pretty well.  It's not that much to ask of musicians from one tradition or another to come together and open their (beginner's) mind all over again.  Old-time might venture into C while Irish might venture into Eminor and other places.  I play tenor banjo/tenor guitar and I don't re-tune out of standard GDAE tuning, so in that way I suppose I lean slightly Celtic although I find old-time to be a little easier to pick up, for some reason.  Half and half.

I also see the Ashland session as kind of like the minor leagues of jamming.  A welcoming training ground, if you will.  While Cary St. and Rosie's are both open jams and excellent places to familiarize yourself with the nuances of the pure drop, there is a certain level of competence that's expected of the participants.  In Ashland I recognize that not all 5-string banjo players are Bela Fleck or Ken Perlman who can churn out jigs with ease, and also that not all flute players are well versed in obscure Kentucky and West Virginia tunes.  Neither am I for that matter.  But we make it work, and do so with a casual, anything goes type atmosphere:  mixing and matching, favoring repertory over style, but still treating these tunes with sensitivity they deserve.

Uniting the Old-Time Jam and the Irish Session

As of April 2012 our 1st and 3rd Saturday morning Old-Time Jam and Irish Session will now be held at Ashland Coffee and Tea, 100 North Railroad Avenue, Ashland, VA 23005. Merging an old-time jam with an Irish session is not as hard as it may seem...

Focus on similarities; be mindful of differences
Both traditions involve friendly, enthusiastic folks gathering to play mostly instrumental tunes in unison using a variety of melody, rhythm and percussive instruments.  Unlike jazz or bluegrass, individual instruments rarely take "breaks" or solos.  Instead, as mentioned before, everyone plays in unison with limited  variation/ improvisation.  Both the old-time jam and the Irish session are (usually) open formats and everyone is welcome to participate.  However, for purists used to one or the other, certain compromises may have to be made.

Keys
The mechanics of certain traditional instruments limits the number of keys one can comfortably play in. So, with a few exceptions, both Irish and old-time center around tunes conceived in the keys of D, G or A and their modal/minor cousins.  Since most old-time banjo and fiddle players re-tune to get into different keys, old-time jams will typically stay in one key for a while (we try to do this).  This differs from an Irish session, where sets of tunes may jump from one key to another.  Those used to the key-jumping format of Irish trad should take heed of any instruments present that may not allow for this or you risk perturbing that overly sensitive clawhammer banjo player!

Tunes
In old-time music the types of tunes played tend to be in 4/4 time (reels, breakdowns, hornpipes, marches, two-steps), whereas in Irish music you have all of those tune types plus the welcome addition of jigs in 6/8 time, the elusive 9/8 slip jig, and polkas.  For an old-time musician, playing jigs can be a challenge, but it is also a lot of fun!  The occasional slower tune in 3/4 time (often called a waltz or mazurka) can find its way into either format.

Repetitions
At an old-time jam one tune will usually be repeated many times through (at least 5 times but who's counting?) so that everyone can get into a nice groove and to help those unfamiliar with it learn it.  At an Irish session tunes seem to be put to bed after just three times through or strung together with other complimentary tunes to form a set.  However, the extended repetition approach to one tune can also be applied to Irish traditional music where it can bring out the sometimes overlooked mystical qualities of the melody.

Instruments
In both traditions, each instrument used has a role - be it melodic, percussive or rhythmic - with single-note melody instruments taking the lead.  In old-time Appalachian the primary instruments are fiddles, 5-string banjos and guitar, along with dulcimer, bass, mandolin, autoharp, banjo uke, washboard and spoons/bones.  In Irish traditional music the primary instruments are fiddle, tinwhistle, uilleann pipes, flute, concertina, button accordion and 4-string banjo, along with bodhran, guitar, mandolin, and bouzouki/octave mandolin.  Other more "exotic" instruments such as cajon and harmonica might also be acceptable assuming the player is familiar with the music and understands his or her role.  At our Ashland jam, any combination of the above mentioned instruments is fine, so long as there's a strong foundation of melody.

Playing by ear vs. using sheet music
The music we are playing is part of an aural tradition.  Participants are encouraged to learn and play by ear as much as possible.  I will occasionally still pull out the tab if I'm called upon to lead a tune that I haven't fully ingested, but I'm trying to do that less and less as time goes by.  I encourage you to do the same.

Etiquette
The old-time and Irish tradition involves specific tunes in specific rhythms, played in specific ways in specific keys.  It's not a free for all where musicians improvise arrangements or solo over chord changes.  The most important thing is to show respect for the other players and to listen. Bring a list of common tunes you can play, sorted by key so that when you're called upon to suggest a tune you'll have some choices.  Feel free to ask someone else to lead a tune if you are not ready to do so.  Keep track of the tunes played that you don't know and work on some of those for next time.  By all means participate!  Feel free to play quietly until you are comfortable.  Don't spend too much time worrying about what others think of your playing, chances are they are more concerned with what they are doing than what you are doing.

Won't you join us?!