Each year IBMA offers many facets to its weeklong business conference and festival. Activities offered include business sessions, concerts, showcases, a tradeshow, jams, and workshops. During the latter, beginning and accomplished pickers receive sage advice from professionals in the bluegrass genre. The pros offer tips, guidance, and insight into the mastery of their instruments.
This year in Chattanooga, Frank Solivan, Rainy Miatke, Thomas Cassell, and Nick Chandler shared their expertise on the mandolin.
Bull Harmon introduced the session. “If you want to learn mandolin chops, this is it!”
Nick Chandler began with a confession. “I love all things mandolin.”
The session launched with a David Grisman jazzy tune, Tipsy Gypsy, followed by the three gentlemen sharing their pick preferences.
Frank said he used a large Tone Slab. “It’s my company,” he stated.
Nick said he used a much smaller (.88) tortoise shell pick.
Thomas also used a tone slab (1.5 mm). “A smaller triangle helps me stay on top of the strings,” he explained.
Then they shared practice routines.
Nick stressed, “I try to get mine out everyday. I have to keep my fingers loose. I just love to play.”
Frank shared, “There’s lots of instrument hangers on my walls (for easy access). I’m not as avid a practicer as I was in my early days. I used to play 7-8 hours a day. Practice now is more to maintain or learn something new.”
Nick interjected, “When I first was learning, I was practicing 10-11 hours a day. Boredom is the key to creativity.”
Thomas admitted, “It helps to not play all the time. Rest is really good mentally and physically.”
Next the differences in their individual sound was discussed.
Frank stated, “David Grisman says it is all in the hands. The goal is to make a good sound. I follow the four Ts: tone, technique, timing, and tempo.”
Nick noted, “Bobby Osborne, Hershel Sizemore, and Doyle Lawson are my heroes and of course, Bill Monroe. I try to take what I can to learn from them and add to it.”
Frank added, “As you progress, you start seeing the details. What I’ve learned about the mandolin is that there is more to learn at every turn!”
Nick shared, “I played with the legendary Bobby Hicks and he gave me this advice: ‘If you feel like you know everything-you don’t!'”
Frank continued. “[It helps] watching others to visibly see how others do it, their personal preferences. Steffey plants his fingers. I don’t see any of us [in this session] doing that.”
Thomas suggested, “Only try to improve on one thing at a time, stay laser-focused.”
Next they played Home Sweet Home, which featured some crosspicking, and then they talked about back-up.
In reference to the four-mandolin workshop ensemble, Frank reflected, “I try to fill in a bass line, but be ‘mandolinish’ and have some nice moments behind a chop. Pay attention. Keep everyone energized.”
Nick added, “I wouldn’t want to play on top of people. Learning chord scales and how many different positions you can play a chord at on the neck adds flavor. Learn your chord shapes all the way up the neck. You don’t see many mandolin players play 7ths. It really does change things.”
The discussion shifted to their instruments.
Frank teased. “I have MAS: mandolin acquisition syndrome!”
Nick relayed. “I have four.”
He described one in particular.
“I have a handmade mandolin. The back, neck, and sides are made from an old bank door and the top is from a fireplace mantel.”
Thomas said that he had two F-5s.
There was a difference in their fingerboard preferences.
Nick stated, “I like a flat board.”
Frank and Thomas responded that both theirs were radiused necks.
Frank explained, “I built this mandolin to be a little wide. I have sausage fingers.”
Rainy, Sister Sadie mandolinist, joined the group at this point.
“I’ve never had a mandolin built to my specifications,” she admitted.
She then kicked off Saint Anne’s Reel and all followed suit. At the close of the song, Frank proclaimed, “That is organic, non-GMO, cage-free mandolin music right there.”
The structure of breaks was then discussed.
Frank stressed, “Focus on the essence of the piece. Have guideposts. Have the melody as the guideposts.”
Nick stated, “When I teach, I tell them to learn the bones of it.”
Thomas agreed. “I call it target notes. What makes it recognizably the tune.”
Rainy shared, “You can play arpeggios. You can fashion licks around it. I call it variations. Make challenges for your brain. Remember the melody and revise it often, but stick close to home.”
Frank noted, “And playing in time is way more important than being a fancy picker. Use dynamics.”
The quartet also stressed as a musician the need to take care of your hands and exercising your fingers.
Franks said, “Take care of your digits.”
Nick warned, “Don’t punch a wall or shut your fingers in a car door. The worst thing to do is crack your knuckles. Don’t pop your knuckles.”
Thomas added, “Be careful washing dishes.”
Rainy suggested, “Get the Active Potential app and take care of your whole body.”
Frank suggested, “Get your instruments set up by a really good luthier.”
The quartet concluded the session by playing a Monroe tune, Big Mon.
