Makes a Lot of Sense

                                   By Dudley Nicholson

Dudley is a long-time member of SWBA and mandolin player who has been writing interesting and informative articles for The Soundboard, the association's bimonthly newsletter, for many years.  This article originally appeared in the October/November 2007‏.

Here are some of the more memorable sayings, who said them and what the saying meant to my learning process.

Much helpful information came from my Pickin' Parlor teacher Frank Javorsek. Here is what I heard and what it meant to me: "Learn the

theory I can teach you." Theory showed me the organization in music which is the most important single thing learned. Most of the theory has been forgotten now, but the knowledge of organization lingers and helps every day.

"One, four, five." No more do I need to remember which cords are included in Dflat or any other key. Position is everything. This made learning to change chord positions faster because now I practiced changes using only one, four, five.

"Practice loud." I see many new pickers play soft in order to not offend family or other pickers and never learn to pick loud. Step back, use muffler or close the door!

"Use double stops." Very organized and sweet sounding for the mandolin or fiddle. Again, position is everything.

"Use three finger chords." Made it possible for this old guy to get arthritic fingers into chord positions. While taking lessons from Frank,

I met a young lady who could make perfect four finger "G" chords with ease. She told me she forced herself to learn four finger chords by taping the mandolin to her left hand in "G" position while she did her housework every morning. I decided to try three finger chords!

Tom Lister slapped bass when I took a break trying to slow me down. I learned to listen better.

Rick Barret told me that, "The first part of Black Mountain Rag sounds like 'Mama's Little Baby Loves Shortenin', shortenin." Now when I listen to new songs, they remind me of another song that I can play to closely approximate the new tune.

Bill Bodeker said, "Sounds the same here as it does here." Proved to me mandolin chords are everywhere up and down the neck. Slightly different sounds in different positions causing more interesting music. I had heard this before, but somehow Bills' words made it work for me.

Jeff Witcher said, "The right hand is most important." New players concentrate on left hand positioning. Jeffs words made me go back to those tedious right hand, up down exercises.

John Shively said, "You sing some songs too fast and some too slow." I had to think about gearing the song to the words instead of picking speed.

Nevada Smitty said, "I don't know what chord it is, but it sounds like this." Who needs the 'How To' books?

The late John Clayton who was never one to mince words said, "Sing harmony with me up close and play your mandolin way back there." This during an impromptu recording session in the Logandale parking lot. Taught me to take what they give you and practice the others. John liked my harmony singing and invited me into high powered jams where I had never been welcome. The recording made that day with Don Glovers equipment, Sandy Gasser on bass, Jack Gasser on guitar, Moose on another guitar and me playing way in the back and sometime singing harmony was given to all attendees at John's funeral.

Jack Daniels Carl said, "I don't play it right." If he can play the Dobro wrong and sound so good, there must be hope for me.

Dave Crupi when asked where his mandolin was said, "Me and the mando aren't getting along right now." It is O.K. to lay the instrument down once in a while. I've found I am better after a short seperation from the instrument.

Finally, George Finney said, "Anymore than five minutes of practice is a waste." I never use his philosophy, but I repeat it often when practice becomes tedious.

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