‘No Shakey Eggs Please’! - A harmonica players guide to Folk Sessions
So you’ve hit a few blues jams and ruptured your ear drums by the guitar amp then suffered the local overly-earnest open mic, but what next?
Well there’s a bunch of beardy types who head down the road to The Pig and Sickle every week with their instruments, so why not take your harmonica down and suck the hell out of the 4 hole draw making the locals mutter ‘bloody blues harp players’ under their breath instead of supping their pints of Old Particular.
Or why not follow this handy Harmonica players guide to folk sessions instead…..
Rule 1- Know your session
Every session is an entity unto itself. Despite the fact that most sessions tend to be themed, they are still highly individual. For example, I know an Old-Time session that’s predominately tune-based where the musicians always play in one key to suit the fiddles and Banjo’s until everyone agrees it’s time to change. In contrast there’s another session- also labelled ‘Old-Time’ that features mainly guitar songs in whatever key the singer decides. If you think it’s a minefield you’re dead right.
One way to negotiate this is to take an exploratory trip to the session armed with a keen pair of eyes and ears and whilst taking a drink at the bar, listening in you can get a vibe of the session. Over your pint or three you can gather vital information : Who’s leading the session? does the host lead most of the songs/tunes or is it democratic with everyone sat in a circle and people being asked to play in turn? Is it a friendly vibe that seems very open to newcomers or is it a small hardcore group of musicians around a table who seem to be treating it more like a gig?
But remember one piece of advice: beards can make people appear friendly and wise in everyday life but it’s not always the case in the world of folk music.
Rule 2- Know your host
In the session arena, the host is king, champion and supreme leader. Ignore him or her and the ‘session police’ will be on you faster than you can play an out of time improvised tambourine part.
They have the most influence on the session in terms of etiquette but also matters of style, acceptable instrumentation, song choice and the general vibe of the event
Rule 3 - Know the theme/style
There are many different themes and styles for a session but let’s just focus on the most common and talk about typical formats of how these run. There are often exceptions to these descriptions but they are a general guide.
Irish Trad- Mainly tunes with 2 or 3 musicians leading, usually a fiddle/tenor banjo and guitar. Some songs too and if so, tend to be solo unaccompanied.
Some of the friendliest most welcoming sessions I’ve been to have been Irish but I’ve also been informed there’s some incredibly unfriendly ones around. There’s a session in South-west London that has explicitly highlighted on their web page ‘No Shakey Eggs Please’.
Harp Tips- If you want to slot in, learn some tunes- Lots of key of D. They’ll be sets of tunes too that change key, usually groups of 3. If you’re lucky the host may shout the key changes. Rhythmic comping possible too( listen to the guitar) but always support the melody.
Old-Time- Also usually tune based but probably more fiddle players and Banjos all playing together. Hopefully only one guitarist. The guitar in Old-time is like the bass and drums together and a solid guitarist can make or break the session. Having two guitarists can be like having two drummers in a band.
Harp Tips- Tunes, tunes, tunes. Mostly G, D and A. Sometimes at an Old-Time session you can easily play for 2 hours in one key. May be a few songs too but will often be slower than Bluegrass with more emphasis on melody rather than improv. Lot’s of tunes are major tonality and sit well in first position, especially with Tongue block comping.( If you haven’t already, check out Seth Shumate on Youtube and his band ‘The Ozark Highballers’ for some seriously great Old-Time harp) Some minor tunes can suit other positions- all the obvious minor ones. Paddy Richter could be handy for fast tunes.
Many similarities to Old-Time and confusingly, much of the same repertoire but played in a very different format. Often more songs than tunes or 50/50 mix. In bluegrass, musicians take breaks(solos) over the form as in Jazz and Blues. Everyone else in group supports the soloist religiously and often plays much more quietly and sparsely. Singer is king and decides the key to suit their vocal range. Other musicians sing in harmony trying to avoid singing in unison. A three part bluegrass harmony in a random pub in Croydon on a Wednesday evening can be a truly beautiful thing.
Harp Tips- Slowly, slowly! A bluegrass session can be like a small family dinner party- be sensitive. Bluegrass music is highly stylised and much better to underplay at first than go in blasting blues licks. Some Bluegrass musicians don’t always appreciate the harmonica. Second position rules ( Listen to Charlie McCoy and Buddy Greene) Twelfth position can work nicely too. Learn how to comp- Listen to the Mandolin and don’t play too loud over other’s solos. Generally speaking, if you want to take a break you make eye contact with the singer/leader. Bluegrass can be political and don’t be offended if you feel you haven’t been asked to take a break unless it happens continuously.
General advice- As with any most ensemble playing, Listening is paramount and particuarly at a session where the pub may be noisy. Seek out the friendly folk, introduce yourself to the host, and be cautious if you are taking a washboard on the first outing…….