MUCH HAS BEEN WRITTEN on this topic - see (e.g.) S.Kaufman (BBN Vol. 16, No 2, May 1994) and D.Brandon (BBN Vol. 17 no 2 Sept. 1995), who have discussed some of the points introduced here. But more needs to be said.

There are a few pointers which, if ignored, can lead to an early demise for a session. I will try to set out a few key ones which, if followed, should lead to an enjoyable pick. A successful session has to be organised but not too tightly so. An important ingredient is a set of like minded musicians whose prime aim is to entertain the immediate group.

There should be a reasonable balance across the instruments as there is little point in five banjos and one guitar banging away with Old Joe Clark ad infinitum! A maximum of 2 banjos is good to begin with; this allows a little trade off of licks and also a little flair for the individual. There tend to be many guitar pickers at a session but not all are prepared to take a break, or feel confident enough. Two or three guitars or more are good and a session can stand additional peripheral guitar players. Mandolin and fiddle are desirable and a double bass is the essential layer-down of the rhythm and completes the essential instrumentation. But don’t forget to include the dobro player and odd closet musician lurking in the background! I may be biased in saying that the most important ingredient in a bluegrass session is the singer.

The author in full voice

It is essential that everybody tunes to concert pitch and electronic tuners are best. A session leader should have a good repertoire and a good tip is to have a typed list taped somewhere convenient. The singer should announce clearly the title of a song and key it will be in - the key is paramount if the group is to sound reasonably ‘together’, especially if some are unfamiliar with the number. How many sessions have you played in where the whisper “What key?” buzzes around? Choose a balance of fast, medium and slow songs to suit all tastes.

I liken a bluegrass session to being on a platform with swing doors. A door opens and the singer takes the lead. At the end of the verse the singers door shuts, the chorus follows then a solo instrument door opens as he takes the lead. The other pickers should play a little quieter as backup but this rarely happens, sad to say. The process continues throughout the song, giving a nice balance instead of the cacophony heard at most hectic sessions. Note that a singer can’t hope to compete with a banjo played at 110 dB and neither does he sing over the lead breaks! Lead and backup contrasts are perfectly illustrated on Carolina Moon by Lou Reid and Terry Baucomb - it tells the full story. I hear the singer, the leads and the backup, all nicely blended for full enjoyment. A sound to emulate - if only it could be so in our sessions!

Choosing who is going to take a break is a thorny balance between not upsetting someone who wants a break and prolonging a song with too many verses and choruses. Generally four breaks is good. One can be the intro break, for most songs have only two verses; more than four solos can be excessive. Better to share the breaks by starting another song and switching some of the soloists. It’s easy to overlook some of the (especially unfamiliar) musicians. The way to indicate a break is by the famous ‘Bluegrass Nod’ - eye contact soon lets you know who does or doesn't want a break.

Singers should always choose keys which suit the voice; don't be pushed into singing or playing in an uncomfortable key. If a musician complains about a key don't be put off and change your mind. Some keys may be unfamiliar, like E to the picker who can only play in G - does this mean we all have to sing in G to suit him? I think not. I might announce “Key of B!” or “B flat!” whereupon a sharp intake of breath is heard from fiddle players. All the songs won’t be in these keys so the choice is struggle on and learn, go to the loo or have a chat.

The flow of a pick can be broken by explaining complicated chord sequences rather than getting on with a song. If it's that complicated then the number will either come to an unsatisfactory end or the musicians will get through it 90% of the time.

“The least offensive way is to pass the drunk a break ....
the other way is quite offensive and would get censored!”

There are two ways of dealing with session-busters or guitar-thrashing drunks: The least offensive way is to pass the drunk a break - the majority will either mess it up or just clam up, then fade away. The other way is quite offensive and would get censored!

Finally don't hog the singing or playing; pass the lead around. This also saves your voice and gives you time to plan your next couple of songs. Take note at festivals which bands are doing what songs - it's much better to introduce variety than having 10 versions of How Mountain Girls can Love or similar well-known songs. But always select songs you think you can sing well!

If you want to play with other musicians and learn new songs and licks then remember where you first started, ’cos you weren't always this good!!!

Arthur St.Claire Robinson. Scarborough.

Updated 23rd Jan 1999