“Competition makes losers of all but a few.” This was my negative childhood assessment of the concept, and it hasn’t changed much in 50 years! So the idea of competition as applied to music—specifically the banjo—turns my stomach. However. . . [I need to point out up front that I am playing Devil’s advocate in this essay; there is of course no definitive answer. All any of us can do is suggest things, and see what kind of discussion can be generated; I am not necessarily sold on this idea, though I’m arguing strongly in its favor. I ask that you keep this spirit of open-ended, continuing discussion in mind when commenting.]
Having spent the last 25 years involved in the concert band world on clarinet—first in college, then in the Military—I can see where competition has an important role in musical growth and progress, both for the individual musician and the instrument he/she plays. How else can you objectively assess talent than through critical, high-pressure auditions; how else can you cause an instrument to stay up-to-date and relevant than by demanding more and more technical brilliance from it; how else can a serious musician move “up” than by competing for and “winning” a more important “chair?” How else do you get into the NY Phil than by beating out hundreds of other eminently qualified musicians?
Perhaps most importantly: If these are the things that keep an instrument and its players alive and growing—and my experience leads me to believe they are—then wouldn’t the lack of them result in stagnation? In my opinion, these concepts are severely lacking in today’s banjo world; you can bet they mattered dearly to working, innovative banjoists (the ones who set the standard for the rest of us, then and now) in the 1920s—the last time the banjo actually progressed as an instrument.
I know that my personal distaste for competition limited my college/military career progress, both in improving my audition scores (and thus being eligible for the better bands) and in my striving for higher military rank (and thus getting higher pay). I also know that the lack of a competitive atmosphere in the banjo world—combined with my inevitable distaste for it if it was there—has put limits on my banjo progress. So, for this reason, I ask: Why shouldn’t the banjo world be more competitive? I mean, do we want to improve ourselves and the banjo community at large? Do we want the banjo to grow and become more relevant to today? I know that many seem satisfied with the status quo (I’m not!), and see it as just a fun diversion from the pressures of everyday life, but you cannot deny that the instrument is gradually becoming just another museum artifact.
I literally grew up in a banjo band (Grays Harbor), so I know all about the “place where everyone stars.” A banjo band is a “social club with a music problem” (no offense intended, but am I right?); competition is the antithesis of their all-inclusive fun, and musical progress is most certainly not a part of the job description. As a shy kid, I thrived in that environment (and have great memories and friends from the experience), but I have spent my adult life trying to grow past it and become a critical, competitive “professional.” I’m not suggesting we should take the fun out of playing the banjo, but if ambitious players/promoters like me want to seriously improve themselves and the banjo world in general, the impetus needs to come from somewhere.
It seems to me that a more competitive atmosphere would give us all more incentive to work harder and become better players, and possibly cause the banjo itself to grow and become relevant again. I’m mature enough to know that I would benefit from a good kick in the butt, whether I like it or not. The only way I have found to get that kick is to compare myself with better banjoists and strive to match them.
In short, I believe we should return to banjo contests—I’m ready, are you? This of course means setting musical standards (being a musical instrument), and being brave enough to honestly judge another player (and big enough to accept the outcome, whatever it is). Is the prize to be for best musical ability or best smiling-while-playing ability? Music is not a visual art, despite what today’s pop culture dictates; I say visual-entertainment-craving audiences be damned!
We should at least return to a testing/certificate system of proving measurable personal achievement. All major instruments—and I mean all—have long-established competition and certificate systems in place (which are judged based on the ability to play/interpret within specified parameters); the banjo did at one time too (the five-string still does!). Have we fallen so far into the fun/entertainment trap that we no longer care about advancement and musical progress? Is the four-string banjo already “dead,” and I’m just too stubborn to notice?
Ron, you hit the nail on the head! For too long the 4-string banjo community has been diminishing. As a band leader, I find that if someone, regardless of talent and ability, wants to participant in my orchestra, I allow it to fill a chair and justify it by saying I can help them attain a minimum standard to play their part in the orchestra. Problem is, I know of no criteria that a player should have to meet other than, “Can he read notation somewhat?” So my standards are low in order to have a body in a chair. There is no competition. You want in? Your in! Personally, I would like to take some kind of test to see where I really am musically. Mostly self educated, I worked on things that either interested me or discovered I really needed to learn something in order to advance myself. I had no guide or plan on what to work on or do in order to get to the next level. I feel I wasted a lot of time and effort on things that don’t really matter or I had accomplished the goal already, and just kept working on minutia when I should have moved on. My question then would be, is there a guide or a test that we can self check with?
Steve; Thank you for your comment! I encourage you to read through all of my replies from this thread, and continue the conversation if you see fit (it may take a few days to get to all of them though).
Well, it looks like we are in the minority on this subject! I concede that “competitions” are impossible in this day and age; there are now too few of us left, and nobody wants to spoil the fun.
Certificate programs however. . . Here’s how they worked in the past: Companies like Clifford Essex published method books, and the tests were based on them (finishing a chapter or volume, and proving to an adjudicator that you are proficient on it–just like all other legitimate instrument method books today) plus “graded” sheet music. Aye, there’s the rub! Who reads music these days? Few of the songs we play today have arrangements, other than lead sheets with chord symbols or diagrams–aren’t “easy” methods and their apparent results wonderful? This is why I rail against the “banjo as nothing but entertainment prop”; there’s nothing wrong with entertaining with the banjo, but what about playing music also? I updated CE’s plectrum book (Emile Grimshaw) and have over 70 pieces of updated sheet music in publication, but European players seem to be the only ones able or willing to read the music (speaks volumes for the respective music education systems). Grimshaw wrote a tenor book, and as soon as I get my hands on one, I’m updating it too, and hopefully some of his tenor sheet music. We are also working on revamping their old testing/certificate system (which disappeared with the original company’s demise in 1976).
I intend to approach the banjo museum about publishing a new official “American method” for both tenor and plectrum that demands (and of course teaches) music reading skills. Only then will we have our own testing system. I know you published a tenor version of Dave’s book; what about developing a testing system based on that?
As a working musician, mainly on the plectrum banjo, and now mostly as a banjo sideman in a couple of trad jazz bands, I think that working experience may play a more important role in personal musical growth than competition. Practically all the banjo players that I think of as being “great” (Buddy Wachter, Eddie Erickson, Bill Dendle, Lee Floyd, Doug Maddocks, Brad Roth) had musical jobs that forced them to play at least 5 days/nights a week every day for 4 to 8 hours. When you work that much, especially at places like Disneyland or Disney World, you get really, really good!
I listen to these people and think to myself, “In a million years I could never play like that.” However I recently listened to a 1980 cassette tape I made of myself when I was playing 5-nights a week at Earthquake McGoon’s in San Francisco and realized that my playing approached the guys I mentioned above. Playing a lot helps a lot.
Scott; Thank you for your comment! I encourage you to read through all of my replies from this thread, and continue the conversation if you see fit (it may take a few days to get to all of them though).
I agree that there is no substitute for experience. I freely admit that I have never had a long-standing, 2 shows a day, 7 nights a week gig. The good gigs I have had however, have certainly had an effect. When I listen to recordings of myself at that time, I realize that I got really good at what I was doing, meaning that I didn’t necessarily grow as a banjoist, just got good at whatever role I was playing at the time. I’m not a risk-taker, so I have a tendency to play it safe in public. In the privacy of my practice space, I can take all the risks I want, and then apply it on the job.
As good banjo jobs continue to dry up, how is the next generation to learn? On-the-job will not necessarily be an option.
My real improvement has come from working a “program,” meaning that I have actually worked all the way through and mastered one of the old method books (Emile Grimshaw); this is what got me started on this kick. I think the prevailing mentality is that you learn the banjo by ear, or with the “chord diagram” method; the problem is, you don’t learn anything about music that way (and not everyone has a good ear).
I would be curious to know how you got started on the banjo, and what you consider to be your successful method of learning.
In reading a summary of the book Tiger Mom (a book about raising children the Chinese way) the author notes that she forced her children to study either piano or violin. These were the only two instruments that her children were allowed to consider. Why? because these instruments afforded the most opportunity of offering some tangible reward for the investment (competition, potential scholarships, etc). From that perspective, I think that competition in the banjo world would serve to enhance the image of the instrument immensely.
Wow, the “sure way” to get the general public to pay attention to the banjo is to shove it down their throats? Force feeding is the preferred method? Really?
Damning the entertainment value doesn’t make much sense either. Being entertaining sure kept the banjo in the public eye for 50+ years via Eddie Peabody (whether one likes his style or not). I might also mention Spike Jones and the Hoosier Hot Shots as examples of entertainment value provided by superb musicianship. They didn’t put the cart before the horse, why should we?
Regarding competitions: maybe we should think of playing banjo like playing golf… the only real competition is with ones self. Ability in golf is finite, which is why handicaps are issued. Everyone is on even terms at the time of competition. Do you have a plan to handicap these banjo competitions, as abilities in playing the instrument are finite too.
I’m sorry, Ron, but the title “Banjo Snob” is far too appropriate this time around.
Kurt; Thank you for your comment! I encourage you to read through all of my replies from this thread, and continue the conversation if you see fit (it may take a few days to get to all of them though).
Well, at least I’m living up to the image I’m trying to create; thank you for noticing!
I guess what I’m shooting at is for the general public to notice the banjo as a musical instrument (or at least for other musicians to think of it that way); I have found that the uninitiated majority seem to think of the banjo as joke-inducing at best, annoying at worst. My goal is always for them to change their mind after hearing tasteful music from it–knowing how you play Kurt, I know that has to be one of your goals also. How many times have you had an audience member say to you, “I’ve never heard that kind of music on a banjo before?” I hear it all the time, and I’m sure you do too.
Damning the entertainment value? Well, yes. . .in the sense that playing more difficult, complex music, and having a mechanism to be recognized for musical accomplishment (in a tangible way, without needing to satisfy an entertainment-hungry audience by playing what they habitually expect from the banjo), will make you a better player. Who cares what the audience thinks? I bet if you found a more musically-attuned audience (admittedly the minority)–and set them up for what they’re about to hear–they would appreciate the musicality more than the loud/fast/smiling pizza parlor thing we all know and love so well. And I bet that if we cultivate amongst ourselves an environment of musical improvement/achievement, the banjo will someday be seen again as a mainstream instrument. As it is, it is a novelty to be avoided.
As I said in my blog, I am not a fan of competition myself, just wondering if it would be a good thing for the banjo community; it has been educational to say the least to see the negative response I’ve gotten from the mere suggestion. At one time in our history, it was a common thing–as it still is for the vast majority of musical instruments. I agree that it wouldn’t work today; #1, there are not enough of us left to do it, and #2, the last thing we need to do is alienate the few remaining players. In my opinion, the death of competitions went hand-in-hand with the decline of the instrument–didn’t necessarily cause the decline, just coincided. In short, there are not enough people left who care about advancement.
Certificate/grading however; I defer to Doug Back’s comment. He says it much better than I ever could–teaching music to young people (including the banjo) is his job! It’s not like you’re not going to be hired without a certificate, though there are a lot of shallow-minded employers who think a piece of paper means something (at one time, it probably did mean something–actually, I’m sure all major symphony musicians do have many pieces of paper attesting to their brilliance).
“Entertainment value provided by superb musicianship?” At one time yes, but then something happened. Example: 1951–Les Paul and Mary Ford. 1960–“Let’s Do The Twist.” There have certainly been better examples, but you get my meaning. I still love the Lawrence Welk show! Just knowing how amazing those musicians were–though they dared not play what they could lest they lose their audience and their TV ratings–keeps me interested. How many banjo players do you know who are capable of playing stuff nobody would understand, but keep it simple to keep an audience? By my count, very few–and I would love to be one of them someday.
I’m not a fan of “contests”. You’d see the same 3 or 4 people winning all the time while the rest of the banjo world sits around watching them “hold court”.
Had “competitions” been a major factor during the FIGA Conventions I attended back in the 1980’s, I seriously doubt I would have attended (more than once) and probably wouldn’t have pursued the 4 string banjo as a career.
Determining who “wins” is subjective at best. Is it based on speed? (god, I hope not!), accuracy?, technique?, song selection? or old fashioned cronyism? What constitutes “a winner” to me may not be your criteria.
I work with a LOT of Entertainers around the world and see many of them who proclaim they are ” “Fill in the Blank” Champions” – many are good performers but more than a few are absolutely “insufferable” because they “won” some competition back in “08 and insist it be included in their onstage introduction and then talk about it as an applause point in their shows!!
Competition? Really?
Music is an Art, not a Sport.
Would you also recommend a competition of Painters? Sculptors? Composers?
Competition does nothing but feed someone’s ego!
The value and quality of Art is very subjective; “In the eye/ear of the beholder”.
Just as there is little value in asking “Who is/was the greatest trumpet player?” or “Who is/was the greatest abstract painter?”, because everyone’s answer will be tempered by their experiences and preferences.
With all Art, I doubt the qualifications of anyone who would choose to be the judge.
If there is any competition involved, it should be with yourself. Just strive to be better today than yesterday.
Jeff; Thank you for your comment! I encourage you to read through all of my replies from this thread, and continue the conversation if you see fit (it may take a few days to get to all of them though). Note: This is copied from my Facebook reply so it’ll be a permanent part of this blog thread.
“The vast majority of “real” instruments have all kinds of competitions! For example, check out: http://www.chopin.org/competition.html
I should add that many of the great concert pianists were once winners of this and other similar competitions. All of the band and orchestra instruments have the same thing, plus all the states have Junior High/High School age “solo and ensemble contests” where kids are (gasp!) judged on their ability to play their instrument within defined parameters. Getting a good grade on these competitions is one of the ways universities judge eligibility for scholarships.
I should also add that as far as I know, the solo/ensemble organizations have not succumbed to the “everyone gets a trophy” participation mentality that has permeated everything else. Music at a high level still requires brutal honesty (and yes, some kids quit after not winning).”
Competition with yourself is the whole idea behind the certificate/grading systems. I agree that head-to-head competitions would not work for the banjo today. At one time it did, and I wish there were enough of us left today to continue making it work. And yes, no matter how hard you try to make a competition objective, it still comes down to popularity and who you know. Us humans are incapable of anything else.
I would not want to push competition. It should come ‘naturally’ and self-triggered by the wish to improve when comparing one self to other players. Your post reminded me of the old B.M.G. system in the UK. There you had graded tests that you could take before a select group of respected players / teachers and obtain a ‘diploma’, which would reflect your skills on a predefined scale – mostly sight-reading, though, I would presume. As far as I know you were expected to play material you had an opportunity to practice before, plus some ‘surprise material’ supposedly in your skill bracket. In such a system one would not compete (except against one self), rather assess one’s own skills. I have no clue how many grades or steps they had – your friend Clem should be able to help find out.
For myself, I am sure that such a system could appeal to me, as it somehow would test my musical skills (and sure improve my sight-reading, where as it is, I see no urgent need to work on that diligently) instead of my ‘nerve to get on stage to rip off the umpteenth version of Bye-Bye Blues’ – nothing wrong with doing that, but a one-sided view.
The problems I see these days are the widely accepted set of ‘auditors’ and the organisation of such testing events, let alone putting together test material that would be balanced, properly graded and widely accepted.
It seems to go back to the question raised in a 1905 B.M.G. article “Why is it that of all musical instruments only the banjo player does not practice as if he wanted to play in a Symphony?” (or something along those lines). Nothing has changed obviously, only we got more and faster information these days and thus conclude that matters have turned to the worse ……
Juergen; Thank you for your comment! I encourage you to read through all of my replies from this thread, and continue the conversation if you see fit (it may take a few days to get to all of them though).
Clem and I are working on reviving their old certificate system; unfortunately, no examples of the old one seem to exist. I believe they would do wonders for those willing to tackle them, but the sight-reading requirement is a tough thing to push today. In America, those kind of skills are seen as snobbish and elitist; I have to admit that academic pursuits have always been perceived as something only the privileged do, and the banjo is the ultimate “people’s instrument.”
Another tough thing to push these days would be competitions. We simply no longer have the critical mass to make it viable, and I’m sure there isn’t anyone willing to put up prize money for such a thing. If they did, the prize would be for how well you smile while playing and how high you can throw your banjo in the air.
I guess once a banjo player, always a banjo player; there are very few of us who see it as a musical instrument. And it’s not just the players, it’s the general public even more so. I can’t count the times I’ve been openly mocked just for having a banjo in my hands! The attitude is “well, since you’re here, you might as well play Dueling Banjos; that’s the only thing you know, right?
I long to change that perception, but I’m beginning to doubt it will happen in my lifetime.
You wrote” We should at least return to a testing/certificate system of proving measurable personal achievement.”
A couple of anecdotes…
Back in 1982, I needed to join the local Musician’s Union in order to work. I’d always heard the old mantra “If you want the best musician – hire a Union Musician”.
I went to the local office and was “interviewed” At no point was I asked to perform, or read music or even prove I owned an instrument. All that I was asked for was a check for $125!!
So much for hiring “the best”….
When I was in High School, there was a young man who was heavily involved in the school Band. He went to competitions and won “all state” every year. He eventually went on to the University of South Florida where he majored in music for four years.
I ran into him many years later. He was working behind the counter at a 7/11. All those years, competitions, tuitions etc. and he was selling Slushies on the Midnight shift.
I worked for over 20 years in the French Quarter of New Orleans and was lucky enough to play with hundreds of truly talented musicians. Many of them couldn’t read a note of music. They learned to play “on the streets” and have carried on an American Musical heritage for decades. Could they pass a proficiency test? I seriously doubt it.
Any they any less valid of a musician? I certainly don’t think so.
When I think of the musicians through the years who couldn’t have passed a “proficiency test” (ie: sight reading) including Bob Dylan and Paul McCartney it makes me shudder to think who’s creative talents we might stifle by having a testing system in place.
I myself to this day, cannot “sight read” well. Yet, in spite of that, I’ve racked up a pretty decent career as a Tenor Banjoist. It has allowed me to perform in over 116 different countries, do numerous radio & TV appearances and make a good living for over 35 years!!
Were “testing proficiency” and “competitions” the norm back when I started playing, I’d probably be selling Slushies on the graveyard shift as well!
During that time, I’ve had the privilege of performing live for over one million people – and (for better or for worse) exposing them to an instrument they rarely hear played anymore.
Competition won’t increase the number of banjo players – in fact, it’s more likely it will diminish them. Competitions will give bragging rights those who already “have the chops” while discouraging the second and third tier players who will “never place first” as long as the top players continue to dominate.
You say you want banjo itself to grow and become relevant again.
The 5 String Banjo’s popularity was largely caused by it’s use in “pop culture” not due to “banjo competitions”.. TV shows like “The Beverly Hillbillies” and movies like “Bonnie & Clyde” and “Deliverence” focused the public’s attention on the instrument.
The same thing happened with Ragtime Music with the theatrical release of “The Sting” in the early 1970’s – suddenly, everybody wanted to play “Joplin Style” piano.
In the past few years, the Ukulele (which was a ‘dead” as the 4 string banjo) has seen a remarkable resurgence due to it’s use in popular music. What the 4 string banjo needs is for the “next Jason Mraz” to incorporate the 4 string banjo into something that resonates with the general public. Only then, will the tenor banjo have a true chance at “relevancy”.
You insist that music is not a “visual art” and yet as long as there have been musicians, there has been musical “performnace”. While I too find little today that passes for “music” despite of the “enhanced visuals”, how can one deny the visual power of a Symphonic Orchestra (as opposed to just listening to a recording), the glorious black & white spectacles of Busby Berkeley or the physical genius of Victor Borge at the piano?
We experience music with more than just one sense. There is auditory, visual and a physical reaction that comes along with the triggering of memories. You seem to show disdain for the “entertainment value” in banjo music and yet want it to become popular again. While that might have been possible 100 years ago (before Radio. TV, Music Videos etc.), no style of music popular today exists without it.
LIKE IT OR NOT, YOU CAN’T HAVE IT BOTH WAYS
There are other factors that make it difficult for the four string banjo to regain popularity as well, including the fact that you can buy a “reasonable” Ukulele or Guitar for $100 but a comparable Banjo would cost five to ten times as much.
Then there is the age old problem of finding a teacher etc.
Jim; Thank you for your comment! I encourage you to read through all of my replies from this thread, and continue the conversation if you see fit (it may take a few days to get to all of them though).
I guess I’m beginning to sound like a broken record, and to you I owe an apology. I’m not trying to “show disdain” for the entertainment value, because I really do have respect for those like you who entertain well (and secretly wish I had that skill); I’m trying to show disdain for the fact that there doesn’t seem to be a “musical value” as well. But that’s okay, because the general public does not expect to be blown away by the musicality of a banjo player; they expect to be entertained. Musicality is lost on the vast majority (regardless of instrument or genre), unless it’s accompanied by a spectacular visual display; to me this is a sad state of affairs and a reflection of our education system.
I’m sorry, but I believe I CAN have it both ways! Entertainment for the audience–music for myself. A wise Army band commander once told me; “Two for them, one for us.” I have tried–as an experiment for educational purposes–an all-Emile Grimshaw show. I got the low level of applause I expected, but then I also got the notice I hoped for; after my show, several of the pros complemented me and asked me where I had found that music. And just about every time I play somewhere, someone comments that they didn’t know that kind of music could be played on a banjo. This may be a nice way of saying “I have no idea what you just did there,” but I take it as a compliment.
I guess what I’m trying to say is that I appreciate the advice you and several others give me, but I’m becoming more comfortable with striking out on my own, playing the kind of music I like, and hoping for that occasional spark of interest. And of course, I still know lots of banjo sing-along tunes!
I promise I will stop sounding like a broken record. Thank you for keeping me on the straight and narrow.
I mentioned the Tiger Lady book because as a full time teacher of fretted instruments in a magnet arts school, where along with classical guitar (my core instrument) and mandolin ensembles, I also direct a youth 4-string banjo band. I am often asked by my banjo students if I could provide a well organized repertoire series for the 4-string banjo players that would allow them to earn achievement awards on par with my “Baldwin Guitar Legend Award. ” The Baldwin Guitar Legend award is one I developed that is earned through finishing nine graded levels of classical guitar repertoire as published by the Toronto Royal Conservatory and culminates in a 20 minute solo performance in front of the entire school audience ( a pretty rigorous criteria). In addition to that award, my guitar students are motivated to practice because we have annual guitar competitions and festivals that we attend each year, which the banjo players feel left out of. In recent months, I have gone back and am gradually evaluating old solos published in the 1920s (AJ Weidt, and others) much of it dated, but a lot of it pretty good too ,which I hope to put into grade repertoire books for my students. I currently teach many Korean students due to the Hyundai car plant opening in Montgomery some years ago, most of whom culturally seem to identify with extrinsic motivation and tangible awards that affirm their progress and which their parents push. Competition is a double edged sword. On one hand, competitions offer promotors, educational institutions tangible things
that they can measure when hiring. On the other hand, it is of course the intrinsic interest in the instrument that will keep the student playing the instrument long after the competitions are over. I try my best to develop a balance and lean toward the instrinsic within the mindset of my students. However, I can say that in the classical guitar world, the level of playing has grown immensely over the last few decades and competitions have served greatly in raising that bar. They have also helped the instrument gain broad acceptance at universities and public schools where adminstrators look favorably on highlighting their student achievement by broadcasting competition results or hiring a noted international guitar competition winner. When I first began the Baldwin Banjo Band ( Originally called the Baldwin Boys Bathroom Banjo Band, because of where they were asked to practice) we used to be able to attend two annual regional banjo festivals. Those are gone now, and the lack of venues and festivals has affected the interest in the Banjo Band. We still play at local pizzerias, retirement homes, etc. but the festivals were always something that the students looked forward to.
To conclude, this discussion reminds me of how I recently joined a gym called Planet Fitness, which I believe is franchised around the country. It is cheap (10$) a month, and its marketing strategy is basically “no critics, no egos”. In the beginning it served me well, but as I began to get into training and working out on a fairly regular schedule, I realized that there were no free weights to use, no scales, and the majority of patrons seem to continuously stay fat merely walking on tread mills and not doing much that really challenged them. I am not knocking it, but at some point, I am going to upgrade to a gym where there are people around me who look fit and who will push me and inspire me to do better. I feel that the 4-banjo world mentality is much like that of Planet Fitness. I feel we could upgrade and could use some critics and competitions, published and graded repertoire, a consensus on technique etc. and perhaps most of all some more young stars to inspire interest and to form the top of the pyramid of growth (top to bottom- Performers, teachers, students, afficianados, general public, etc. )
Douglas; Thank you for your comment! I encourage you to read through all of my replies from this thread, and continue the conversation if you see fit (it may take a few days to get to all of them though).
I could not have stated this case any better than you just did! Your educated and experienced view is what I’m actually trying to cultivate for myself, and push through the Banjo Snob.
I’m going to play Devil’s advocate for a moment though. First off, let me say that if I had been in your program as a teenager, I might have turned out much more self-disciplined than I did. As it is, I grew up in that 1970’s atmosphere of “if it feels good, do it.” Fortunately, I stayed away from the drug and alcohol soaked majority of the time, but still, the mentality of “you can’t tell me what to do” personal freedom was there; I believe I would have rebelled against the strict requirements of contests and the like. As I read the negative, passionate comments generated by the mere suggestion of that regimen, I am reminded of just how rebellious I was! And I obviously wasn’t the only one! The original 1920’s generation that everyone our age learned from was much more single-minded, but they failed to teach most of us that. All we knew was fun-fun-fun; I remember that now, and so I grudgingly understand the attitude represented by most of the comments here. We have a tough row to hoe, you, Steve, and I!
In all seriousness, what can I do to help you with your goals? I now have over 70 pieces of edited plectrum banjo music in print through CE (standard notation with TAB and chord symbols). I have also updated the Modern Banjoist–I think it turned out pretty good. I plan to update Grimshaw’s tenor book also, as soon as I can locate an old copy; you wouldn’t happen to have that one would you? Clem and I are slowly working on reviving their old certification system. I dream of developing a “New American Banjo Method” that would incorporate contests and testing; is this something we could collaborate on?