Jams are a great place to be heard and noticed, to hone your skills as a player, and to meet other players and potential band-mates. Jams are also the best place to learn playing etiquette: the skills that will make other players see you as  easy and productive to work with!

It's not like there are rules exactly--but there are conventions, and taking heed of the following will make your jamming experiences a lot more enjoyable.

Remember. there are lots of bad harp players out there, so don't be surprised if the initial reaction to the "what do you play?" - "I play harmonica" exchange is a bit...uh...less enthusiastic than you'd hope :-)

Jam coordinators have plenty of perfectly good reasons to be wary of potentially amateurish and rude harp players. The only way to get over that hump is to always project a friendly, polite and solidly professional attitude.

So...the 7 habits of successful jammers...

1) DON'T OVERPLAY:
                   Inexperienced players of essentially single-note instruments (harmonica, violin, sax and other horns for examples), and sometimes folks who have played long enough that they should know better,  have a very common failing: they never shut up!!!

                  If you try to haul out your whole bag of tricks in one or every tune, or fail to leave open room in tunes for other players, you're guilty of "overplaying" (in simpler terms: you're either green, greedy or inconsiderate).  Another way of putting it is: you're "walking" on the other players. Musicians HATE this--at least in someone else :-). The better the musician, the less tolerant they are of inconsiderate players--and rightly so.

                You'll be asked to play a lot more often if you hang back, so haul out your bag of tricks over a number of tunes. Listen to the real pro's--especially country harp players--who never overplay, it seems. Being the dangerous, monster-solo "harp god" is fun, and lengthy solos have their place--especially in blues or hard rock--but not all the time, every time!

Some rules of thumb (yes, there are exceptions):

• When in doubt about taking a solo....don't.
•  
• Don't play lead lines when someone is singing, unless asked. The      
• exception is soft, flowing lead lines, well behind the vocals but be careful.
  It's generally a better idea to leave vocals clean. If you must play behind a 
  vocal, try subtle chording instead. Rule of thumb: if what you are thinking of 
• playing won't make it better...don't.
•  
• Don't play lead lines when someone else is soloing. Two random leads 
• almost always sounds horrific. An exception is ragtime music, but most 
• blues isn't ragtime!  And to play ragtime well, you need to know the genre.
•  
• Even be careful when playing rhythm behind someone  else's lead. Be 
  sure you aren't getting in the way of their musical ideas. Again--when 
  in doubt, don't. For example: let's say the soloist has an idea for a flowing, 
• subtle, toned down lead. What will the effect be if you (or any other player) 
• insists on doing a loud double-time "chug-chug" rhythm behind the solo?
  
  Be generous about giving other players room lots of room for solos and 
• "fills" between vocal lines. Don't hog them. My rule of thumb when doing 
  fills around vocals is: one verse for someone else, one verse for me--then
  alternate using eye contact for communication. Leave fill room for every 
• player on the stage. You'll find that if you leave room for other players, 
• the folks that are "arranging" the tune as it gets played will be much 
• more likely to give you all the room you need for solos and such when 
• they realize you're a considerate player.
  
  Keep your head up. Good players maintain constant eye contact with   
• each other. They watch for, and give, signals and cues as to when to    
• come in and out during solo or fill sections. The hunched over, 
• moody and intense harp playing posture is fine--except if it means you   
• don't know what the other players are up to. 
•     
• If another player starts to play a solo or starts to walk on you when  you 
  feel it's your turn--stop your solo right away. Let the other guy  play 
  but maintain eye contact and work to get a clean space for your break 
  next time around. Make this a rule and you'll play a little less--but you'll 
  sound better.
•  
• When it is your time to solo, take 12 bars only unless you know more is 
  cool with everyone. Take your cues from the other players. 12 or 24 bars is 
  kinda standard--only stretch longer if you are given a clear sign to do so. 
  When your break is done, use eye contact to pass the tune back to the 
  vocalist or the next soloist.
•  
• Everyone hates a hog and the "song that never ends" just bores people.
  Leave folks wanting more.
•  
• As a general rule--don't just get up in the middle or after the beginning of 
  someone else's tune and start blowing harp. Doing so uninvited is a sure 
  sign of an amateur--and a rude one at that. It's the other person's spot--so 
  give the same kind of consideration you'd like for yourself. 
•  
• It is okay to discreetly gesture that you'd like to join the tune--but accept 
  the verdict, and don't take it personally. Now, at some jams it's perfectly 
  OK to get up anytime but make sure it's okay first and don't overplay 
  anyways. Give yourself a rest and leave folks wanting more.

          Keep in mind that: people don't know what you don't know. This means that 
          an audience will think you are a better player if you play simply and accurately
          rather than if you play complicated, challenging stuff sloppily--and, actually--
          they're correct.

• This next suggestion takes tact and maturity. Be careful. Talk--don't shout,
  and watch your temper:
  
  If a particular player just won't stop walking on you and everyone else, be 
  tactful if you can and don't be eager to lay down the law, but say  
  something politely to the culprit. If you get the "it's a JAAAM,  
  Maaaaaan"  response,  understand that the person is the musical 
  equivalent of a schoolyard bully.
  
  Don't be too afraid to do what you have to do to make the culprit feel 
  uncomfortable. "I know it's a jam, man--but shut up and stay out of my way 
  anyway" isn't unfair. Bullies are looking for victims, not adversaries.
•  
• If the above doesn't work, go to the person who coordinates the jam, 
  explain the problem, and ask that you not be put on stage with the 
  offending party.
  

2) SHOW UP EARLY:

                The biggest secret to getting a good sound at a jam session is: be prepared. You can't be prepared if you don't have time. Being early means you have time to set up any equipment you are bringing to the jam, you have time to ask the sound person to help you adjust your sound and you have time to relax and get the feel of the room.

                Don't be a pest and hover around the sound person or the other folks setting up equipment, but do offer to help carry stuff from cars and vans. No-one minds help with the heavy lifting. When you arrive, go to the person setting the sound or organizing the stage, let them know in simple and polite terms what you would like--ask them to get back to you  when it is convenient for them to help you--and relax. 

                Ask if there is a sign-up list--many jams organize players by rough chronological order based on the order folks arrive or sign in. 

                If you have equipment to set up, be patient and considerate when setting up. Ask the jam coordinator or the band where and when to set your stuff and do so only when and if you aren't getting in the way. Be polite and professional about it and you'll be treated fine.

                Ask for a sound check--but do yourself a favour--play softly during the check. That way you stand a chance of being loud enough in the full band mix. See the note at the bottom of this page and act accordingly :-)

                One problem with being early enough to set up your sound correctly is that you might always be the first jammer up. That's not always a bad thing--but it can be frustrating as things get hot and happy later on in the evening, and you've already played your spot. If this keeps occurring to you--say something to the person running the jam, a gentle hint to the effect of: "I know I arrive early--but that's to make sure I get a decent sound. I sure wouldn't mind taking my spot a little later in the evening if that's possible". Doing this usually works.

                 Jam coordinators are generally quite aware that some players turn up late on purpose just so they won't have to play earlier on in the evening. If the above-mentioned gentle hint doesn't get the result you want, don't be afraid to remind the jam coordinator that there shouldn't be a penalty for supporting the jam by being on time :-)

               Oh--if you do play early, don't just play and leave. You wouldn't want to give the other players the idea you only come to play and not to listen, would you?

3) MAKE SURE YOUR EQUIPMENT IS IN GOOD WORKING ORDER:

               This doesn't need a whole lot of elaboration but it's worth mentioning. Check your harps and other equipment regularly and make sure that all the holes work, all the cords are solid, all the batteries work and so on. Carry extras if possible. 

               How many harps do you have? If you don't have enough, you'll be missing out on a lot of playing and you'll be causing stage delays as the band has to go through the "oh, well...what key do you have" routine.

              My suggestion is to have these keys: A, C, D, F, G, and Bb as a minimum, for the standard keys of E, G, A, C, D and F respectively. Also, I think it's a good idea to have 2 of each of those keys just in case a reed sticks or flat-out breaks while playing. After you have these, I'd suggest an Am Natural. 

              If the band is one of those that tune down a half step, then all bets are off. You'd need Ab, B, C#, E and F# to do the trick for those guys. But if the band insists on that kind of tuning at a jam, and won't do the adapting themselves rather than forcing everyone else to adjust, then <looking around to see who I'm insulting> they're posers or the singer has a complex. Playing a half step down during gigs is one thing--and there might be plenty of good reasons to do that...but jams are jams and courtesy indicates they oughtta be in standard tuning.

4) UNDERSTAND THAT SINGERS CONTROL THE TUNE:

               This understanding is important for two reasons, one obvious and one not so obvious. 

               The obvious thing is that it is generally the singer's place to arrange the tune and to assign whose solo it is when, and so on. Act accordingly. When playing keep a close watch on the singer for cues to stops, volume level and when to solo.

               The not so obvious thing is this: if you know how to sing a tune or a few tunes, you have way more control over your destiny when jamming. If you are singing the tune, it is you who will arrange the solos--who plays when and for how long :-). Hint: Learn a few tunes. You don't need to be Paul Rodgers or Bobby Bland--if you can hold a tune you'll do okay. And remember, even if you are the singer, you still have no excuse for a 480 bar solo. Make sure other players get their spot--that way, they'll want you to sing.

               This leads to:

5) KNOW  YOUR JOB DESCRIPTION IF YOU SING AT JAMS:

              Let the other musicians know the key, tempo and structure. Lets folks know ahead of time if there are stops or odd key changes. Let the players know how the song comes in (as in: "down from the 5/turnaround" or "once through the first 12 bars"), then count it in--accurately. You remember... one two three four ...

             At least at first, pick straight forward or fairly well-known tunes.

            When it comes time for solos, indicate who does what by gesture or by name--and signal solos, stops and changes visibly--and ahead of time by a little bit. 

            Don't take a long time between songs--choose your tunes before you get up. have a game plan and stick to it.

6) TALK IN SONG KEYS:

             Simply--if the song is *Kansas City* in the key of G, call it G and use your C harp or whatever other harp you want..

             Normally, you'll be playing in second position, but you might not be. You might be in thrid position or...

             The point is that transposing (choosing which key harp to use) is something you have to know, but --as you can imagine--other players will get very confused if you refer to a song as being in the key of the harp you use. 

             Also, for their sake--and your own sanity--simply ask/tell other players not to try to transpose for you, which they might do out of a genuine effort to help. Get in the habit of calling for tunes in the key the guitar player or keyboard player will use. (inside joke: let  the horn players fend for themselves :-)

            One more thing... How do you know what key a song is in? Well, you can learn enough chords on guitar that you can tell by looking (highly recommended) or just ask. Do not try a bunch of harps at full volume while the song is going on trying to find the right key.

7) BE POLITE:

• Take the time to sincerely compliment other good players, and be encouraging to those who are learning or struggling. 
•  
• Thank the folks who run the venue for their hospitality and, if they give free drinks or pops or whatever to jammers, tip the servers and staff some (it doesn't have to be much--they know musicians are poor :-)
•  
• If particular members of the audience are very supportive--up dancing, clapping, obviously enjoying what you do--take a moment to thank them for the support, from the stage or (better) at their tables. Go thank them.
•  
• Without risking life, limb and sanitation, share what you have. if you have a nice harp amp and mic, let other sensible folks use the stuff (I don't recommend sharing harps with anyone you wouldn't kiss).

By the way..part of being polite is "no gussing". "Gussing" is playing harp from the floor while other folks are on stage, especially loudly--as in "trying to show your friends or anyone who will listen how great you can play the tune". It's not polite, it's not cool, and it's a sure sign of an amateur.

There ya go.