Hmmmmm, I won't put any more data in here 'cause the idea at the beginning was to keep it REALLY simple...but that's difficult, 'cause everybody's got different ideas about 'simple'. And it's a fascinating subject that most people have very definite opinions on. Once again, I guess it can be useful if people take "one" post that they understand and like, and use it the best they can. Thought I might do a bit of an overview on the "kinds" of students I've worked with over the last 15 years (got my 'book of names' here, in case memory fails.

"The prodigy"

I see about 2 or 3 of these folks a year. Absolutely natural. The youngest, about 20 (I try to work only with adults) the oldest, late sixties. Usually completely unaware of how little they have to work, to achieve what others may take years to get. Mudcatter Marion (who now lives in Toronto) certainly qualifies. The problem with these folks is sometimes they move too fast and I really have to drill the 'basics' into them. The most irritating player in the world to me is the one who can play flashy complex leads, and still can't keep a solid rhythm.

"The Tab veteran".

Makes up about 50% of the folks I work with. Often they've been playing for years, but still have trouble playing ONE song from beginning to end at proper tempo with some feeling. Usually they've been weaned on Tablature, and haven't developed their ear at all. It makes it very difficult for these folks to play with others. I try to get them "off the paper", to start training their ear, and almost always to work on their 'dynamics' in order to 'swing'.

The 'bad habits' bunny.

Usually someone who has been playing for years and knows that 'something's wrong' 'cause they haven't progressed beyond that first year. Can be as simple as better left hand fingering, a DISCIPLINED right hand (gotta get them to start memorizing again) or even that they've been playing an instrument that is totally unsuitable to their body-type (that happens a lot!) or musical ambitions.

The "unmotivated" (that was ME at the beginning)

The person who wants to learn, but hasn't yet found music that 'pierces the heart'. These folks are fun to work with 'cause I get to play (and tape for them) a LOT of great music from old records and tapes. Watching as someone suddenly "discovers" the beauty of Leadbelly, Django, Big Bill, Charlie Christian, Dave bromberg, Lydia Mendoza, Doc Watson etc. is a real hoot. Helps me relive those same moments when I was 15 or so. Usually once they're hooked... THEY'RE HOOKED! Often during this process, the person will discover it's really the MANDOLIN (or banjo or dulcimer or dobro) that they really want to play. Fiddle even (in that case, I send them to Jamie Snyder, 'cause my fiddle technique is highly suspect...and I don't want to screw 'em up right at the beginning!)

The "Questioners"

The hardest for me, 'cause as has been stated here, ya gotta memorize a few things, before the 'answers' have any meaningful contexts. When someone asks "what's the deal with repeated diminished chords"? I really want them to know what a diminished SOUNDS like, and WHY it's used in the first place. Gotta PLAY it to REALLY understand it.(by the way, Peter's a diminished 'monster' now) This is related to that "investment thing" that I've mentioned frequently on the Cat. I don't believe you can watch "Oh Brother..." and know anything about Trad. Music. You (IMO) should at least 'invest' a bit in Buell Kazee, Tom Ashley, Cousin Emmy, or the Stanley BROTHERS, to understand WHY Hollywood now feels that Trad, and pseudo-trad is a money maker.Same with instrument technique...invest in a bit of the 'grunge-memorization-work' before trying to anylize it.

The 'tips' student.

Great fun. Makes up about 20% of my clientele now. Usually professional players who want extra tips, tricks, and in general, stuff I've learned over almost 40 years of pickin'. This is where I pick up a lot of great stuff as well......but I can't afford to give them back their money!!

The rest(!)

Their AIN'T no 'rest'. Everyone is different, and I use different approaches with each. Some folks are so 'visually oriented' that not being able to see over their fingerboard (and watch their left hand) totally screws them up. Some folks have let me in on a 'learning disability' that prevents them from 'seeing' chord charts after weeks of frustration. (Now I ask, right from the git-go) A common situation is the student who practices SO quietly ('cause of sleeping babies etc.) that when they try to play with a little volume, they get really messed up. There are hundreds of little 'differences', and trying to 'customize' sessions certainly keeps me on my toes...but that's the fun of teaching, for me.

Rick