Weird open mike etiquette

Subject: RE: Weird open mike etiquette
From: Marion
Date: 03 Nov 00 - 07:45 PM

Pixie, I do live in Cape Breton (between the causeway and Baddeck). I would be glad to get in contact with you, but since you're posting as a guest I can't send you a personal message. Would you like to become a member of Mudcat? It's free and has at least one benefit.

Marion

Subject: RE: Weird open mike etiquette
From: The Shambles
Date: 03 Nov 00 - 07:51 PM

Glad you dug this one up again Marion. Will you let us know how you get on with your next vist?

Subject: RE: Weird open mike etiquette
From: Marion
Date: 03 Nov 00 - 07:59 PM

Actually I have another weird open mike etiquette question before I go again:

Is it proper, when introducing your set, to ask if anybody wants to buy your guitar?

Marion

Subject: RE: Weird open mike etiquette
From: The Shambles
Date: 03 Nov 00 - 08:10 PM

May be a problem for the rest of the set if someone does buy it then.

May be better to say it a the the end of the set?

A little strange maybe but one sees many strange things. Did it happen?

Is that why you sang unaccommpanied?

Subject: RE: Weird open mike etiquette
From: Marion
Date: 03 Nov 00 - 08:22 PM

No, I didn't mean selling it on the spot! :) I am in the market for a steel string and I want to sell my classical to help finance it - and I figure that a room full of guitarheads would be a good place to do a little free advertising.

Actually I very rarely want to sing a cappella, but it just seemed to fit the song "Johnny Be Fair".

Marion

Subject: RE: Weird open mike etiquette
From: Jon Freeman
Date: 04 Nov 00 - 04:48 AM

Marion, I'm not sure about etiquette but I am of the nature that would mention that the guitar is for sale.

Jon

Subject: RE: Weird open mike etiquette
From: Marion
Date: 02 Feb 01 - 04:16 PM

I am bringing this up again for an update - I've made it back to this open mike (they actually call it a ceilidh, but people call everything a ceilidh in CB) few times.

The next time I went, I didn't bring my guitar and didn't plan on singing anything - I wanted to just listen and learn for a while to get a better feel for how to play there.

Several people, seeing me without a guitar, spontaneously offered me the use of theirs, so this made me feel even happier about the friendliness of the crowd. The plays-along-with-everybody guy was among those who offered to lend a guitar; I also learned, incidentally, that his name is Cliff Carter and that he's deaf in one ear.

Before the show I talked to a couple of older women who had been there last time I went, and they said how much they loved my voice and wanted to know what I was singing. They were sorry to learn that I wasn't planning to sing at all, and begged me to do something "please... for them."

Well, I don't have an ego of stone... so I said I would sing after all.

So when my turn came up I sang Caledonia and Cripple Creek accompanied by the house band (I didn't want to borrow a guitar since I wasn't yet used to a steel-string's fingerboard). And I thought it went quite badly. I knew what keys I liked to play the songs in, but when I asked the guys to give me an opening chord I found it difficult to find my note in it. As the songs progressed I felt ill at ease, not knowing how long to pause between verses or how long to give for an instrumental break, and not knowing how to communicate with the players about when I should come in or how long I expected them to give me a break for.

So when I sat down I was thinking "No more jamming in front of a microphone!" I like playing with others, but I wouldn't want to perform with others when we haven't planned out a strategy verbally beforehand and we're all facing the audience so it's hard to make eye contact.

Then I noticed that the other ordinary performers didn't seem to having a problem with the setup. And I concluded that the others probably weren't worrying about stuff I was worrying about - they were just plunging in how they wanted to do it and trusting the accompanists to find the key, to fill in pauses in the singing, and to go back to the verse when the singer starts the verse again. It was all about faith.

So the next time I went I had it all figured out, and it went great. I told both the accompanists and the sound guy beforehand that I would do the first song with them and the second song alone, and that for the second song I wanted my voice and my guitar miked separately.

The first song I just strummed the basic chords, and I essentially ignored the others - I just played the song and let them fend for themselves. It worked fine. And it was in the second song that I fingerpicked and did a solo.

I think I've hit on the right approach - one song their way, one song my way.

Jim Dixon, tell us about this reserved seating business - it sounds like it might be humourous.

Marion

Subject: RE: Weird open mike etiquette
From: McGrath of Harlow
Date: 02 Feb 01 - 05:08 PM

If I'm singing and I'd sooner be unaccompanied, I just say that's how I want to do it. The same if I'm playing my own accompaniment, and don't want anyone joining in - though sometime there you have to be a bit more forceful.

Generally I prefer a set-up where people play together when they feel like it, unless they've been asked not to. I don't think anyone ever feels their nose put out of joint if there's a request to people generally not to join in - it's trickier when there's one particular person you want to shut up, or if you've started and they've started.

But unaccompanied singing should never be disparaged as a second-best type of singing. As for "It could possibly be argued that to sing solo a capella at informal gatherings is a prime example of placing the musician before the music and the ultimate thrill for the 'control freak." Well it could possibly be argued, all kinds of strange things can be possibly argued - but in most cases I would hope that the argument would fall flat on its face.

Subject: RE: Weird open mike etiquette
From: Mrs.Duck
Date: 02 Feb 01 - 05:09 PM

I have had little experience of the open mike set up but do find that since I always sing unaccompanied it can be offputting if someone strikes up with an accompaniment no matter how good. In an open session I take my chances but would feel quite ok about asking them not to join in on certain songs. Unless someone is good at accompanying and not just trying to muscle in on the tune it can be a nightmare and I have on occasions been drowned out by players who often have no idea of the tune or my interpretation of it. To be accompanied by a really good player would be an honour but would have to be at my request otherwise its just rude.

Subject: Floor spots...
From: Bernard
Date: 03 Feb 01 - 05:17 AM

Exactly!

At our Folk Club we have some singers who prefer to sing unaccompanied, and you often find the most inept 'accompanists' joining in and ruining the atmosphere - and they are oblivious of it!

However, there are others who ask for accompaniment, and I'll join in at that point.

What I find very distasteful is those who 'join in' and quickly appear to be taking over someone else's 'floor spot'. It's one thing joining in with an accompaniment when asked, but rather ignorant to try to overshadow the performer whose 'spot' it is. Playing an instrumental verse in the middle of a song isn't the same thing - it's an acceptable contribution (assuming the singer wants it, of course!).

I have to admit that I've been guilty in the past, but have learned the error of my ways. These days people specifically ask me to join in, I'm happy to say.

Subject: RE: Weird open mike etiquette
From: Jon Freeman
Date: 03 Feb 01 - 07:31 AM

Marion, reading your last post does make me think again that it is just the way of the venue and that people are friendy but have a different way of going about things that many of us are used to.

Your post does reflect on one of the difficulties of playing with others though. I find that there are some people that I will quickly gain an understanding with and that there are others that I would need a lot of practice with but joining in with others can be hard work. Singers in particular can be peculiar people, maybe wanting to pause slightly to add emphasis to words or to perhap to catch a little breath or maybe they are just inconsistent in the length of a break in between verses.

I guess that this gives me more reason to think that the joining in with a singer without being asked is not a good idea as it can restrict them or force them to perform thier song in a way that they are not comfortable with but I am still stuck with the belief that if this is a happy, friendly venue, maybe it can work although it is not for me and it sounds not really for you.

I would suggest that maybe you consider starting your own event that works the way you like it. There maybe a number of others who feel more comfortable with a different type of venue and that there is room for both approaches in your area - you never really know until you try it.

Jon

Subject: RE: Weird open mike etiquette
From: McGrath of Harlow
Date: 03 Feb 01 - 03:15 PM

I think there's a big difference between the situation when other musicians join in with accompaniment that's there already, and when they play with an unaccompanied singer.

If I'm playing an accompaniment when I'm singing, I'd normally be happy with others joining in, but when I'm singing unaccompanied, I wouldn't normally like it. I tend to change my speed of delivery and so forth when I'm singing a song, as part of telling a story or whatever, and it takes a hell of a clever accompanist to improvise along with that - it's much harder than accompanying the accompanist who is already doing that.

There is a big difference between playing a tune and playing an accompaniment, and a lot of excellent instrumentalists don't really appreciate that. The tendency is often to iron out the rhythym into something regular enough to dance to. Which is not traditional - but more important, it gets in the way of the song.

Subject: RE: Weird open mike etiquette
From: The Shambles
Date: 04 Feb 01 - 02:41 PM

The informal musical gathering, in all its manifestations, is better not looked at as a performance. Of all these, the open mic is the nearest to such a thing, but in truth is probably more like a rehersal for such a performance. It does however offer the chance to do it exactly as you wish, with an audience, if that is what you want.

The others types of musical informal gatherings offer the opportunity to make music with others and that is the element that makes them special as well as a possible source of intense irritation.

If you wish to involve others in your music making at these gatherings, you risk the possibily that this may mess up your idead of how it should sound, rather than enhancing it. The trick is to accept that the whole event or indeed your turn, is not entirely in your control, to stop trying to control it and just enjoy the ride. Or go home.

There you could play it exactly how you want it, alone in your bedroom.

Subject: RE: Weird open mike etiquette
From: GUEST,Marion
Date: 19 Sep 02 - 02:28 PM

One of the folk clubs in Toronto that used to have a normal open mike has just changed its format, and it sounds interesting. Here's the description on their website:

"On the third Tuesday of every month, you will be sure to catch the best of songwriting and entertainment as Hugh's Room and Trevor Mills presents New Folk Night. Over the years, Trevor has gotten to know a host of great songwriters and musicians from around Toronto and across Canada. Every month he sits down at his computer and composes an email to these fine folks and invites them to the participate in an upcoming New Folk Night at Hugh's Room.

There are two ways to participate:

1) WRITE A SONG inspired by the THEME
2) Play in the HOUSE BAND

WRITING A SONG inspired by the THEME

Each New Folk Night at Hugh's Room will have a very general theme. When Trevor invites people to participate, he introduces the theme. The first nine songwriters to get back to him saying they've got a song finished inspired by the theme are the performers for that night. It's that simple. (In case of a tie, preference will be given to performers who haven't played before).

Examples of themes could be anything from very simple like "Love" or "Work", to a little more involved like "The State of the World" or "Inspired by The Simpsons", to inanely pedantic like "Urban Economic Policy of The Midwest United States Between 1947 and 1952" (okay, we'll probably never use that one).

Songwriters are encouraged to push their creativity when writing songs. The songs don't even have to have anything remotely to do with the theme. A creative introduction or segue is perfectly sufficient. The point is not to pigeon hole people's songwriting. The point is to trigger new material within a creative community and then bring that community together and have a little fun.

The nine performers for each New Folk Night are announced on the Hugh's Room website on the first of the month, giving them roughly three weeks to publicize their involvement. Each performer gets 20 minutes of stage time to play their new song and whatever else they want to play. If they wish and if it's appropriate, the performers are encouraged to involve the New Folk House Band to fill out their sound.

Playing in the HOUSE BAND

Are you a musician who can pick up and play on a song you're hearing for the first time? Are you interested in accompanying and getting to know some great new songwriters? If so, then consider coming to play in the New Folk House Band at Hugh's Room. The house band is simply musicians who are available to play along with any of the songwriters that evening. Adding a band to mix is meant to enhance the songs being performed, so playing with taste is very important.

One of the great things about songwriters is that they're often recording their songs. The New Folk Night is a great way for songwriters to meet musicians they like and vice versa. "

Marion

Subject: RE: Weird open mike etiquette
From: McGrath of Harlow
Date: 19 Sep 02 - 02:38 PM

Having a theme for writing can be a good way to push you into writing a song you might not otherwise, and maybe stretch yourself a bit in the process. But I've never been too keen on the idea of a theme when it comes to an actual song session.

And there seems something a bit strange about a "Folk Night" that specifically excludes traditional songs, and assumes that all songs benefit by musical accompaniment.

Still, if I was in Toronto I imagine I'd give it a shot.

Subject: RE: Weird open mike etiquette
From: Rick Fielding
Date: 19 Sep 02 - 03:20 PM

Whew! Time sure does pass quickly, doesn't it?

Cheers

Rick

Subject: RE: Weird open mike etiquette
From: Marion
Date: 21 Sep 02 - 04:40 PM

McGrath, I think if you read the description again you'll find that neither of your objections are quite on. The nine songwriters that get on the list have 20 minutes each, so after their new theme-inspired song they can spend the other 17 minutes singing Matty Groves if they want. Also, it says If they wish and if it's appropriate, the performers are encouraged to involve the band..., so it doesn't sound like the singers will be pressured to have accompaniment.

This format does, however, leave no place for singers who aren't also songwriters, which is a shame. But it's not like this is the only open mike in town.

Rick, yes - even weirder than weird open mike etiquette is reading something you said two years ago (I mean the general you, not you Rick). I suspect that people who keep diaries do so not to preserve memories but to have something to laugh at in the future.

I still wish Jim Dixon would tell us about the "reserved seating", though.

Marion

Subject: RE: Weird open mike etiquette
From: Leadfingers
Date: 21 Sep 02 - 05:15 PM

Even I dont join in unsolicited with unaccompanied singers and am careful not to be too intrusive with accompanied stuff,and I'm the sort of smart arse who can put some kind of backing to nearly any thing.Tunes at sessions are a different matter though.If you can follow it,play along,or keep the volume down while you're sorting it.

Subject: RE: Weird open mike etiquette
From: Sandy Mc Lean
Date: 25 Feb 04 - 08:34 AM

Hi Marion & all others from this old thread. I think that I may be able to shed some light on an old discussion. Marion does not state where the venue being discussed was located , but I am sure that it must have been at the Highland Guitar Society in Judique or at the Blue's Mills firehall ceilidhs. In either case there is relationship between the two.
If you are still interested I will explain the format used there.
I do not recall Marion being at Judique, but I remember a lady playing at Blues Mills who worked at L'Arche and I wonder if that might have been you. I think you mentioned in an other thread that you worked there .
                   Sandy

Subject: RE: Weird open mike etiquette
From: Willie-O
Date: 25 Feb 04 - 09:55 AM

Sandy, please do spill the beans on the Highland Guitar Society & firehall ceilidh. Including the whens and wheres.

Something I want to know about next time I get to CB

Willie-O

Subject: RE: Weird open mike etiquette
From: Bobjack
Date: 25 Feb 04 - 10:20 AM

Who is Mike Etiquette? Will he be on Mike Harding's show tonight?

Subject: RE: Weird open mike etiquette
From: Marion
Date: 25 Feb 04 - 12:10 PM

Hello Sandy. Yes, when I was at the L'Arche in Whycocomagh, I went a half dozen times to the Blues Mills Ceilidh, and once to Judique. There was nobody else from L'Arche who sang there during my era (2000 and early 2001).

Might I remember you? Were you a regular singer/player at Blues Mills?

Marion

Subject: RE: Weird open mike etiquette
From: GUEST
Date: 25 Feb 04 - 01:01 PM

Marion, it surely must have been you that I remember from L'Arche, playing at Blue's Mills. The two guitar players would have been Ciffie Carter and Ronnie Hull, both fantastic players, but only Ciffie would be from Cape Breton.( Ronnie lives in the Antigonish area.)
I have to go to work now, as I drive a schoolbus. I will get back to this later.
                                  Sandy

Subject: RE: Weird open mike etiquette
From: GUEST,Sandy Mc Lean
Date: 25 Feb 04 - 01:03 PM

Sorry, lost that damn cookie again :-}

Subject: RE: Weird open mike etiquette
From: GUEST,Mountain Tyme
Date: 25 Feb 04 - 08:01 PM

Very interesting reading of a subject dear and to near to my heart. I've hosted some premium mics and performed at many others. I can identify with all the previous comments. I've had to learn how to survive the above subject I would call rather a lack of etiquette. Each of us be we song writers or cover players hear each song our own special way. Our aim is to share the special way we each hear with folks who try to listen. To me anyone who attempts to tread on this very individual sound is a bore or cretin. How dare they think they could aid or improve MY music is my stance. I offer this concept to you. I silence them quickly and forcefully whatever their intent may be. They don't ask, nor do I. I first request them to stop the NOISE. (as I've had to do even with Dylan a few times and run him off the stage believe it or not, tho t'was long ago) If that fails to gather their attention I say I will begin again when they are done making a mockery of a music they cannot possibly know the details of. Were a premium player/singer to ask me assist (that has happened now and then) I decline, not because I can't play or sing their style but because I would prefer to hear their masterwork unimpeded by myself or any other... pure as I see it. It's a simple concept, when you listen you learn. Over the years becoming tired of having to deal with these bold or drunken bores I have kept my instruments and my cool tuned together but off of standard 440 pitch. It drives them visibly nuts as they frantically try to find the key. When the true listeners catch on it's a laugh riot. Problem thus solved by the attentive, nuff sed. Try it! Fair is fair, is it not? :) M'Tyme

Subject: RE: Weird open mike etiquette
From: The Fooles Troupe
Date: 25 Feb 04 - 08:05 PM

It takes all types - some kiddies love to share - and some kiddies need to play The 'Alpha Male' Game - different strokes for different folks.

Robin

Subject: RE: Weird open mike etiquette
From: Mr Happy
Date: 25 Feb 04 - 09:21 PM

i was at l'arche 'bout 20 yrs ago-real bunch o' weirdo's- not many gd tunes among 'em.

but the residents then seemed 2 enjoy old time on chord organ + xmas carols every time!

Subject: RE: Weird open mike etiquette
From: Mr Happy
Date: 25 Feb 04 - 09:23 PM

candles + yahweh?

Subject: RE: Weird open mike etiquette
From: GUEST
Date: 25 Feb 04 - 11:12 PM

Marion & all,
   This is not a question of etiquette as much as one of format. Perhaps a bit of history on these mentioned venues will clarify this.
   The Highland Guitar Society gathers in Judique, Cape Breton every second Sunday, from September through June. $3.00 is charged at the door and it is used to pay rental for the hall with anything surplus going to charity. Everyone pays this, performers, MC, canteen workers ,sound man and audience,   Everyone who pays this fee becomes a voting member of the organization.
This was started nearly a decade ago by a small group of guitar players and it was a jam session where guitarists sat in a circle playing together. Singing was included as well as picking and all joined in. It was a way for less gifted players, such as myself to try and follow those who had much greater ability.
As people heard about these sessions , they asked if they could attend and watch, and they were welcomed into the group. However, this changed the format somewhat, to more of a concert setting with an ever growing audience. The circle grew too large so a theater style seating
replaced it. The front three rows were reserved for those with guitars
who played along with those who were on the stage. Every player was encouraged to take his or her turn on stage so this then evolved into a bit of an open mike show , but with this twist: What would normally be an audience were playing along, as the original mission was not lost. Those performing up front have the benefit of the sound system with jacked or miked insturments as well as voice mikes and monitor speakers, so they should be in control of their performance. A couple of our best players were asked so often to play backup that it was less hectic if they just stayed on stage.
Today we still follow this format , except that backup players no longer stay on the stage unless they are requested , but they do play in the front rows. The type of material played is whatever the person up front desires. Mainly classic country, folk,celtic and bluegrass but it could be just about anything. It is not just guitars either. You will find fiddles , harmonicas, squeezeboxes etc. but the emphasis is on the guitar.
This format may seem strange to a newcomer but it seems to work for the most part and the audience keeps comming back. We all leave our egos at the door and just have some fun.
The second venue is at the Blue's Mills firehall, located about 5 miles west of Whycocomagh. It is a fundraiser for the Blue's Mills Fire Dept. Many of the same performers gather there every second Friday on the opposite week to Judique. This is a much smaller hall and is more of a concert than a jam session. Due to it being a very crowded venue anyone performing a number or two may lose their audience seat as it often becomes standing room only. People not on stage don't usually play along but when Marion wrote this a few years back it followed closer to the Judique format. Also the two guitarists mentioned were for a time asked to stay up as a bit of a house band.
This is more explaination than justification . My personal opinion is that in a concert format I would prefer to request backup, if desired. I have no problem with these two players as they are far better than myself and I am used to them. I have been in situations though where the sound of my own guitar was being drowned out and due to my limited vocal range I need it to keep me on key.
When the MC said that the guitar player was the best on Cape Breton he was expressing his opinion. To my mind that title belongs to JP Cormier who is also the best in Canada on celtic guitar. Yes Murray, I know that Tony McManus moved to Toronto but that dosen't change my ranking! :-}
I suspect that it was Ciffie Carter who is one of the most talented people that I have ever met. He is both a great fiddler and guitarist. He can play anything with strings very well , and is largely unknown because he plays for pleasure rather than for a living. I have seen Buddy MacMaster come into the audience to ask Ciffie to come on stage and acompany him. Ciffie can hold his own with any of the best!
As for my own ability it is limited and is only a hobby. My mother was a wonderful singer , and as a cruel twist of fate I inherited her passion but none of her talent. I do a bit of songwriting and I will tack on a song that I wrote about the Blues Mills Ceilidh. The tune is obviosly borrowed from the IRA. (Harold Campbell is the Blue's Mills MC )
             Sandy

THE BLUE'S MILLS SONG

                                                                                       
    NOW TELL ME HAROLD CAMPBELL ,TELL ME WHY YOU HURRY SO
                                                                           
    YOUR SPIRIT SO UPLIFTED AND YOUR EYES ARE ALL AGLOW
                                                                                          
    I BEAR NEWS ABOUT A CEILIDH , GET YOU READY QUICK AND SOON
                                                                                          
    FOR THE WHOLE GANG GETS TOGETHER AT THE RISING OF THE MOON
                                                                                 
    AT THE RISING OF THE MOON , AT THE RISING OF THE MOON
                        
    THE WHOLE GANG GETS TOGETHER AT THE RISING OF THE MOON


    OH, THEN TELL ME HAROLD CAMPBELL WHERE THIS GATHERING IS TO BE
    AT THE FIRE HALL IN BLUE'S MILLS , RIGHT WELL KNOWN TO YOU AND ME
    WITH NO FURTHER WORD NEED SPOKEN WE WILL ALL BE HEADING SOON
    TO THE FIRE HALL IN BLUES MILLS AT THE RISING OF THE MOON
    AT THE RISING OF THE MOON , AT THE RISING OF THE MOON
    TO THE FIRE HALL IN BLUES MILLS AT THE RISING OF THE MOON

    NOW THERE'S RITA ON HARMONICA , SHE PLAYS THE OLD TIME TUNES
    WHILE BARBARA PLAYS THE SQUEEZE BOX , AND SHE'LL SING A SONG OR TWO
    THERE'S CIFFIE ON THE GUITAR , AND HE'LL PLAY THE FIDDLE TOO
    IT'S THE WEST BAY ENTERTAINERS AT THE RISING OF THE MOON
    AT THE RISING OF THE MOON , AT THE RISING OF THE MOON
    IT'S THE WEST BAY ENTERTAINERS AT THE RISING OF THE MOON

    THERE'S CARL AND EDDIE UP ON STAGE , AND JOHNNY SINGS HIS TUNES
    WHEN VINCE OR RONNIE PICK GUITAR THE CROWD IS IN A SWOON
    AND WHEN ROLLIE STEPS UP TO THE FRONT , WE DON'T KNOW WHAT HE'LL DO
    BUT HE'S SURE TO MAKE YOU HAPPY AT THE RISING OF THE MOON
    AT THE RISING OF THE MOON , AT THE RISING OF THE MOON
    HE'S SURE TO MAKE YOU HAPPY AT THE RISING OF THE MOON

    THERE ARE SOME I HAVE NOT MENTIONED ; I HAVE NAMED BUT JUST A FEW
    OF THE MANY FRIENDS WHO GATHER AT THE RISING OF THE MOON
    SO ON EVERY SECOND FRIDAY , IF YOU WANT SOMETHING TO DO
    JUST HEAD ON DOWN TO BLUE'S MILLS AT THE RISING OF THE MOON
    AT THE RISING OF THE MOON , AT THE RISING OF THE MOON
    JUST HEAD ON DOWN TO BLUE'S MILLS AT THE RISING OF THE MOON

Subject: RE: Weird open mike etiquette
From: GUEST,Sandy Mc Lean
Date: 25 Feb 04 - 11:14 PM

Sorry but my cookie escaped again.

Subject: RE: Weird open mike etiquette
From: Marion
Date: 26 Feb 04 - 11:44 PM

Thanks for all that background, and your song, Sandy.

I remember Rita (the Old Grey Mare, right?)... weren't Vince and Ronnie the brothers that played hot bluegrassy guitar? I remember the name Rollie but can't remember which one he was. What about the little boy in the cowboy hat who liked to play Church in the Wildwood? Is he still going to these events?

Marion

Subject: RE: Weird open mike etiquette
From: GUEST,Sandy Mc Lean
Date: 27 Feb 04 - 06:45 AM

Rita is a real sweetheart. She's past 80 but never stops.
Vince is one of the MacRae brothers. The second brother was probably Robert or Steve. They are a very large family of 12 or more, who all pick and sing.
Ronnie is the other guitar player mentioned earlier.
The boy's name is Justin. He hasen't been there lately but I hope that he'll return.
There should be a session in Blue's Mills tonight but I expect it to be cancelled, as we are into our second day of a blizzard.
Marion, have fun on your new busking tour!
                  Sandy

Subject: RE: Weird open mike etiquette
From: Big Mick
Date: 27 Feb 04 - 07:30 AM

Guess this comes down to two things for me. First, you should know the session you are playing in. The Highland Guitar group obviously has been doing it this way since its inception, so one should be prepared for that. Personally, I probably would stick to songs with predictable patterns, and I probably wouldn't frequent this type of gathering often. When I interpret a song, I rarely do it just as folks are used to. I love it when I am playing for a savvy group of folkies and they take the first verse and chorus to get to know how I arrange it, and then jump in on the chorus and sing wonderfully. But altogether too often you have the boob in the audience who refuses to go along with the way I am doing it, and insists on singing/playing "their" way.

With regard to good players jumping in and backing up the song, I don't have a problem with it. I would offer the following advice, remember to stay with your arrangement and keep it consistent in terms of pauses, measures between verses, etc. The good player won't have a problem following and enhancing your creation. Don't be afraid to let them take off on a lead break, they will be able to handle it, and if they prefer not to they will give you a sign. Again, the ones I dislike are the ones that can't "hear" the chord structure, but insist on continuing to play. I know fairly quickly if I am going to stay and play, just watch, or leave.

OH .... To Marion .... You did exactly the right thing, when you informed they in a polite way that you wanted to the song a cappella. If anyone had a problem with that, it is their problem. Don't stop. One thing about an open mic is that you want to haul out your good stuff, cause you get about one, mebbe two, songs to impress the crowd. If that is unaccompanied, so be it. Mick

Subject: RE: Weird open mike etiquette
From: GUEST,Hugh Jampton
Date: 27 Feb 04 - 10:59 AM

Those people who insist on demonstrating their range and virtuosity on every possible occasion do themselves no favours. They spoli their opportunity to LISTEN to what other folks can offer. They may be pleasantly surprised at what they hear. A well sung song, a well played interpretation requiring no embellishments. Fortunately we are not blessed with such characters down in Kent.

Subject: RE: Weird open mike etiquette
From: Sandy Mc Lean
Date: 27 Feb 04 - 09:05 PM

Mick,
The format usually works quite well. When the players don't know where you are are going they usually just watch and enjoy. They may join in when they figure it out.
I , also sometimes sing without music. I don't do a lot of material in Gaelic but when I do the tradition is a capella. Also I have written a couple of un-acompanied songs that I sing from time to time.
         Slainte,
               Sandy