Old Time Clawhammer Banjo Workshop 2005 Edition By Steve Arkin Steve Arkin was interviewed clawhammer approach has evolved from videotapes, and workshops from which the style of playing that developed in the you can learn tunes -- whether from sheet by Jody Stecher in the Feb- “Round Peak” area between Mt. Airy NC music, tablature, or demonstration. But, if ruary 2006 edition of Banjo and Galax VA. At festivals, square dances, you rely too heavily on that strategy, youʼll contests, and parties across this country, ultimately develop your ability and reper- Newsletter. For more info go the elements of the Round Peak approach toire only at the rate at which you can find to www.banjonews.com to clawhammer are now commonly used tablature or else people (live or recorded) not only to play the tunes of that region, willing to sit down and teach you new but also to play music from just about ev- tunes. And learning this way is actually a A) The Clawhammer Style erywhere else. This workshop is primarily hindrance if your goal is to be able to sit To those hearing it for the first time, about that approach, which has become in on a hot session and play-- with drive the sound of clawhammer banjo can be known in some circles as “the festival and flair--whichever tunes the fiddler de- strange and wonderful. The player makes style.” cides to throw at you. You simply wonʼt rapid, subtle, and unintelligible hand mo- Some people are uncomfortable about be able to participate in most sessions if tions and the most unexpected sounds the way this single regional style has be- youʻre limited to tunes you already know bubble out of the instrument--both a pe- come so universally popular, and at the fact and have already worked out. culiarly schematic version of the melody that so many tunes originally recorded with Rather, you should build your reper- and a simultaneous, propulsive, self-con- another banjo style or without any banjo toire by listening to, and playing along tained rhythm track. Watch a good player at all, are now played with clawhammer with, a lot of recorded music (played clawhammer away all day long and, if you accompaniment. There is a good reason by the best musicians from varied back- donʼt already know how itʼs done, you for that popularity--itʼs exciting to listen grounds). While itʼs true that in a jam, might never figure it out. to, fun to play, and a very effective rhythm the role of the banjo player is to be able Many assume that there was always accompaniment for the fiddle. Thatʼs why to play along on every tune thatʼs thrown a banjo in old time music (not so)—and Iʼm focusing on that “Round Peak/festi- at you, itʼs also true that the more tunes that the banjo was always played in the val” style. However, one of the great joys you know, the easier that will be. For ev- clawhammer “style.” In fact, clawhammer of old time music is the tremendous di- ery new tune you learn, you will pick up is merely one of a broad variety of ban- versity of styles and sources. Therefore, techniques, fingerings, or licks that will jo techniques in the history of old-time despite the allure of the festival style, I help you play a whole lot of other tunes. It music. Also popular were a combination strongly recommend that you investigate would be accurate to say that, as your rep- of “up-picking” and brushing (like Pete the full range of the old time universe. For ertoire increases arithmetically, your abil- Seegerʼs “basic strum”), various two-fin- leading contemporary players of other re- ity to play unfamiliar tunes--and the speed ger styles (including two dissimilar ones, gional styles I suggest you talk and listen with which you learn them--increases each of which is sometimes called “dou- to Mike Seeger, Paul Brown, Tom Sauber, geometrically. ble thumbing,”) and assorted three-finger and others who have mastered some of styles—including the ancestors of Earl the alternative old-time styles (the three I C) Summary of The Round Peak and Scruggsʼ bluegrass banjo style. mentioned have been widely recorded and “Festival” Styles: But thereʼs a reason so many assume Mike Seeger has a videocassette demon- • Largely derived from the playing that clawhammer is synonymous with old strating alternate styles). style of Charlie Lowe, Fred Cockerham, time music: It has become the banjo style Kyle Creed, Tommy Jarrell, and other mu- most often associated with the old time B) This Workshop sicians from the Round Peak area. revival and itʼs by far the most common Rather than teach you a couple of tunes • In descending order, used for method for playing the banjo at old time or arrangements, I thought it might be festivals, contests, and fiddlersʼ reunions. more useful to go over all the things I could 1) accompanying fiddle tunes, Clawhammer (also known as frailing, drop think of that an aspiring clawhammer ban- 2) accompanying songs and ballads, thumb, rapping, knocking, etc.) evolved jo player should know (like the old saying: 3) as a solo instrument (Q:“How do from the “stroke style,” probably brought “give a person a fish and you feed them you tell old time banjo tunes apart?” A: from Africa by slaves, passed on to whites for a day; teach them to fish and they can “By their names”) by African Americans, and popularized in feed themselves for a lifetime”). Much of the pre-Civil War minstrel shows. this information will seem overwhelming, • The “Festival Style” comprises a While itʼs accurate to say that but if you hang on to this, I suspect it will number of recent variations of the Round clawhammer dominates todayʼs old answer many questions that come up over Peak style--with some inspiration from time festival scene, I should clarify that the next few years. the players of other regions (such as West even further—todayʼs most common There are many books, periodicals, Virginia and Kentucky) and some new elements that have little or no historical • Resonator back (e.g. Gibson low). precedent. Mastertone) banjos with heavy tone rings, • The focus of jamming at festivals has long, “pressure type” tail pieces, and (on 4) The 4th beat usually consists of shifted to a repertoire derived largely from 5-string models) long scales evolved in the plucking the 5th string with your thumb. field recordings, with less emphasis on the 1920ʼs—often as tenor banjos designed to The rhythm produced via this process commercially recorded early country mu- compete with the sound of a large orches- sounds like “bump-a-ditty” (or, if you rest sic that was prominent in the early years of tra. Surprisingly, this is the type of banjo on the second beat, bump-ditty. the revival. The repertoire consists mostly that many Southern old time players pre- When youʼre between phrases in the of a huge range of fiddle tunes (and, to a fer (especially around Galax, VA)—but melody, or to follow the melody in tricky lesser extent, songs), from far-flung areas up North and among younger Southern- passages, itʼs often better to alternate be- (N. Carolina, Kentucky, West Virginia, ers theyʼre usually considered too “blue- tween your index or middle finger on the Tennessee, Virginia, Georgia, Missouri, grassy.” They have a loud, bright sound. 1st (or other) string and your thumb on the Illinois, Mississippi, Alabama, Arkansas, • Mountain (or “Dixie Can”) ban- 5th (middle/thumb/middle/thumb = “tic- Texas, etc.) jos—one form of early southern home ka-ticka”). Iʼve heard this called “double- • Regardless of a tuneʼs origin, the made instrument: very small head (5-7”), timing the 5th string.” “Festival” banjo style remains primarily no brackets, fretless, sometimes a section • Driving rhythm is the most important anchored in the playing of the Round Peak of tin can forms the rim, wood around the ingredient (“itʼs the rhythm stupid”) area. top and bottom of the rim is held together • But, melody (or at least the key pas- by screws which tighten the head. Frank sages) is also important. D) The basic kinds of 5-string banjo Profit made these famous; Frank Warner • Still—never sacrifice rhythm on the used for Old Time Music: used to sell replicas. Very quiet. altar of melody! • “Round Peak style” banjos (either • Minstrel banjos: Usually fretless; al- • Use a variety of rhythm licks to cre- fretless or fretted): open back; plunky ways with gut strings, friction pegs, often ate a percussive texture in your playing. sound; “no-knot” tailpiece; lightweight with oversized pots (12-14”), frequently • Donʼt attempt all the notes that the rim with little or no tone ring; large (usu- tuned lower than standard—for the deep, fiddle plays—listen for the basic melody ally 12”) rim; fingerboard scooped out ultra-plunky minstrel sound. George and its “distinguishing characteristics.” above the 17th fret; short scale (usually Wunderlich makes faithful replicas of pre- Most of the top players donʼt try to play 25-26”). NOTE: The “scale length” is the Civil War instruments. Bob Flesher, Mike all the notes in the fiddle tune, but by distance from the bridge to the nut. Kyle Ramsey & others make updated versions. choosing carefully which notes to play, Creed made some of the earliest Round • Gourd banjos—reproductions of the they produce the illusion of playing the Peak style banjos. David Forbes devel- earliest plantation instruments: plunky tune note-for-note. oped them further. Today, Mike Ramsey & quiet with little sustain. Made by Pete • Donʼt start out slow-learning a (Chanterelle), Kevin Enoch, Will Field- Ross, Bob Thornburg and others. knuckle-busting arrangement and expect ing, Bob Flesher, and other independent • There also exists a tremendous diver- to bring it up to speed later. Itʼs better to makers make this type of banjo today (and sity of homemade instruments that defy start out playing simply so you can play makers noted for producing other types of categorization. at the same tempo as others—then, over open back banjo are often willing to pro- time, you will gradually pick up refine- duce one to your specifications). E) Clawhammer pointers ments. • Fretted, open-back, long-scale (27- Clawhammer (as I recommend it) is • Tap your foot while you play—it re- 28”) banjos that evolved during the clas- usually played in 2/4 or 4/4 time. It con- ally helps you stay on the rhythm. sical banjo period (c. 1875-1915) —often sists of: • To get that characteristic percussive with early types of tone ring -- (Fairbanks, (“chunka chunka,” “click,” or “cluck”) Stewart, Vega, Bacon, Cole, etc.) These 1) The 1st beat (“the downbeat”) is sound: Instead of the downward brush were originally used for playing in the a downstroke (hitting down on the first across all strings (on the backbeat), “classical (3-finger) style,” often in ban- string with your middle finger or on the 2, strike 1st (& sometimes the 2nd as well) jo orchestras, along with other banjos of 3 or 4th string with your index finger. string(s) with middle finger, then instantly various scale lengths and head sizes (such mute with index (some strike with ring as “banjeurines,” and cello & piccolo ban- 2) The 2nd beat can either be a rest, or finger and mute with middle). At its best, jos). Classical banjos became the arche- the playing of a melody note on the inside this technique can enable you to provide type of the “folk” banjo popular during the (2nd, 3rd, or 4th) strings with your thumb, the clear rhythm that fiddlers love. It can 60ʼs folk revival (sometimes with 3 frets or by sliding up (or down) from the first sounds like anything from a series of sharp added to the neck to copy Pete Seeger and note, pulling off or hammering on. clicks to a bubbling sound not unlike a pot provide easy access to other keys). Banjos of thick pea soup when the heat is turned of this ilk tend to sound pretty bright. A 3) The third beat (”the backbeat”) up a little too high (see E3 above). But it is number of companies and craftsmen make consists of a brush across the first 2 or 3 NOT the main point of clawhammer play- them today--most notably--Bart Reiter, strings with your right index & middle ing and it can wear out its welcome if you Deering, and Wildwood. fingers (see “chunka chunka” sound, be- do it constantly. (By the way, as far as I can tell, the earliest recorded use of this full (four-string) chord patterns which you glue-on nails (that you get from a drug- style comes from Clarence Ashley, who damp rhythmically lifting your fingers store). You have to glue them on with nail called it “the cluck.” He employed it in his slightly off the fingerboard) at the end of glue (a crazy-glue-like substance avail- recordings from the early 1960ʼs (but not each stroke. This sounds much easier than able wherever fake nails are sold) and you in 1929!). Also, he primarily used it on the it is—I canʼt even begin to do it. Sounds have to be very careful with it (or youʼll downbeat—not the backbeat. great if you do this one time through on a glue your fingers together, glue them to • Many players use just the index or tune and then morph seamlessly back into the banjo, or worse). Before you apply a middle finger for playing non-thumb clawhammer. fake nail, cut it to roughly the right size. melody notes. However I recommend us- • Listen to recordings of todayʼs top After itʼs on and the glue is dry (15 sec- ing your index finger or thumb for inside fiddlers (Bruce Molsky, Rafe Stefanini, onds), cut it way down so that itʼs at opti- strings; middle finger for first string. It Dirk Powell, etc.) and you will notice that mal nail length (with the tip of your finger really helps with accurate phrasing and their accompaniment tends to sound “aus- protruding 1/16th of an inch beyond the many top players do this, including John tere” (banjo & guitar alike) without a lot tip of the nail). Hermann and Dan Gellert. of extraneous notes. Thereʼs much to be • Right Hand, Index Finger: You want • Donʼt use the same finger or string said for this approach—it creates a strong to have a fairly long nail on this finger (to twice in a row unless thereʼs at least a rhythm groove and a beautifully simple help you cleanly hit notes on the inside beat between them. It will throw off your setting in which the fiddler can really strings). A fake nail is really helpful here. rhythm and slow you way down. stretch out without fighting extraneous Shop around for one that is straight (not • The preferred right hand position is notes from his accompanists. one of those claw-like horrors) and that over the end of the fingerboard (although • People often mute their banjos in a protrudes about 1/3” of an inch or more players with long-scale, classical-style variety of ways—the goal is not so much beyond the tip of your finger. I used to file banjos usually play over the head). to make them quieter as to make them the corners of the business end so they • Crook your thumb and bring it to rest sound plunkier and to eliminate harsh were a bit rounded but now I actually pre- on the 5th string whenever itʼs not active- overtones. Try the following (experiment fer having almost a right angle. ly plucking (when raising your hand for a by varying the tension against the head): • Keep your left hand nails short downstroke, slightly push off from the 5th enough to not tear up the fingerboard. string with your thumb (thereby sounding 1) wadded up cloth (a sock?) between it) and it will (sort of) help to propel your the dowel stick and the head (where the G) Chords and Left Hand Techniques hand upwards. neck meets the rim) • Some Round Peak players donʼt re- • Some people avoid fretting the 5th 2) a chunk of Styrofoam in the same ally use full chord positions—they just string, but it is another place to look for location play the melody notes. I personally pre- the hard-to-find notes of some tunes. 3) a rectangular strip of duct tape stuck fer using chords when you can fit them in • Drop-thumb—bringing your thumb on the back of head (close to where the (any banjo book will provide the positions down (usually on the off-beat to play mel- neck meets the rim for each tuning) because you can find your ody notes and for syncopated “pops”— 4) a tiny wad of duct tape under the 5th melody notes inside them. If youʼre going preferably not for a steady rhythm (many string at either the bridge or the nut (cuts to use chords, you need to understand how people regularly alternate their thumb down the ringiness of the 5th string) the ones in each key work in relation to between the 5th and 3rd strings just for each other. Hereʼs a start: rhythm. I donʼt recommend it). • Bob Carlin, Frank Lee, and Brad Tonic (key): D A G C • “Galax lick”—sort of a flamenco Leftwich all have videos focused on strum to start a measure—you strum your Round Peak style clawhammer. #4 Chord: G D C F middle and/or index fingers across the strings and finish by plucking down on F) Fingernails: (This sounds ridicu- #5 Chord: A E D G the 5th string with your thumb (on the lous, but itʼs actually important). downbeat)—sort of like: brrring! A vari- • Right Hand, Middle Finger: When #2 Chord: E B A D ant is the “slow brush” where you brush this nail is too long, your playing will all your fingers (starting with the little fin- sound hollow. When it isnʼt there, your #7 Chord: C G F Bb ger and ending with the thumb). More like playing will be barely audible and your brrrrrrrrrrrrinngg!!! nail bed will start to hurt. Optimally, there • One school of thought holds that • A really neat technique which is is just a tiny little sliver of nail protruding minor chords are not appropriate in old not traditional but which Richie Stea- beyond the nail bed, and if you view your time music. I disagree, but be prepared rns (Horseflies, Improbabillies, Bubba finger head on, the tip of your finger will to encounter this point of view. Actually, George) and some other players use effec- actually protrude about 1/16th of an inch chords didnʼt really enter old time mu- tively is to strum up and down across all beyond the tip of your nail. Believe it or sic until the guitar did—around the turn strings with the tip of the index finger (sort not, this makes for the best sound. If you of the century. For chord choices it ac- of like strumming a uke with a felt pick). are at a festival where you have to play for tually helps to become familiar with the While youʼre doing this it helps to play hours—or days—at a time, consider using types of chords used by the source musi- cians (“dead guys”) of the particular re- moved up to the second fret; and the dou- high, try playing in a low register). gion where the tune (or the version being ble C tuning (GCGCD)—which becomes • Make sure the sound of your instru- played) originated. the double D when moved up two frets. ment is directed toward the center of the • Some left-hand techniques for pro- 4) Three other common tunings rel- jam and not into the ear of the person next ducing melody notes donʼt require a right evant to festival style playing: to you. hand finger: G modal (GDGCD)—A modal when • If youʼre not invited into a session, 1) Hammering on: once a string has moved to 2nd fret, Open D (ADF#AD or stick around and observe it. If you detect been sounded you can get another note out F#DF# AD), and G minor (GDGBbD)— the vibe that others are not welcome, donʼt of it by hammering on at a higher fret with becomes A minor on second fret. There crash it. a finger of your left hand. are many other tunings, you will rarely • In my experience, nobody has ever meet them in jam sessions. been dissed for discretely recording a ses- 2) Pulling off: once a string has been • Strings: With a short scale banjo you sion. This is one of the very best ways to sounded, you can also get an additional may enjoy the sound of heavy strings learn. note by pulling your finger off it (either (more plunk/more volume). I use the • If you discover a jam whose core returning it to the open position, or having following gauges (starting with the 5th consists of players who are more ad- a finger on another, lower fret on the same string): 11,26,16,12,11. But try various vanced than you are but who seem open string). weights to find what works best for you. to others joining in, it may be best to stay For a longer scale use lighter strings. in the outer ring and play along quietly. 3) Sliding: A specialty of fretless ban- If the members of the jam want to make jos (but it works on fretted banjos too). I) Jamming tips (parties & festivals) you feel welcome, they will (sometimes Slide from one fret to another (usually • Everybody hates this part—but it just theyʼll enlarge the inner circle and motion the 3rd string from the 2nd to the 3rd or comes down to basic etiquette. you to come in and sit down). 4th frets; the first string from the 2nd to • Most of repertoire at jams consists of • The less well you know the people the 3rd fret, or the 1st or 4th strings from fiddle tunes in the jam, and/or the more advanced they the 2nd to the 5th fret. You can also slide • Whatever you do, make sure youʼre are (in relation to your level) the more laid downward. in tune with the participants before you back you should be about trying to join in even think of joining a session! In this era (and the more quietly and unobtrusively • A widely practiced rhythm lick is to of electronic tuners, it probably suffices to you should play if you do get in). strike the 3rd string with your index finger, make sure your “A” note is the standard • Many people prefer small jams in next pull off from the 1st string, 2nd fret, 440. which every instrument is distinctly audi- then do the brush and the thumb on the • Usually the fiddler calls the tune— ble. In such cases, even another top-notch 5th string. Do this repeatedly when youʼre and the banjo player is expected to rise to player will not be considered an asset. filling up time, or when you can. the occasion and be able to play it (even • If you come upon a jam with very • A cool technique for playing up the if you never heard it before). If youʼre few players (regardless of how good they neck is to fret both the first and 5th strings playing with old friends this rule can go are) try to be sensitive to the fact that they above the 5th fret (same fret for both out the window—but if the fiddler doesnʼt may be: strings), alternating with the thumb and already know a tune, itʼs unlikely that he/ middle finger (ticka ticka, again). Then she is going to learn it satisfactorily from 1. A band rehearsing just go and pick out the key melody notes. the banjo player. 2. A gathering of good friends who It sounds a little like a series of 2-note • Usually, everyone plays at the same donʼt see each other very often tremolos (as on a mandolin). time—without “breaks.” However, there 3. A session of strong players who are dynamics (sometimes everybody plays want to play with people at their level and H) Keys, Tunings, & Strings a little more quietly in order to showcase donʼt want a wall of sound from a lot of 1) Most old time tunes are in one of one instrument or while a verse is being extraneous instruments. four keys: A, D, G, or C (most Kentucky, sung). North Carolina, Virginia, and West Vir- • People play in the same key for a If any of those appear to be happen- ginia tunes are in A or D. G&C are more long time—sometimes for hours (mostly ing, pass that session by or consider leav- prevalent in the Ozarks, Deep South, and because itʼs hard for instruments to retune ing your instrument in its case and, if the Mid-West. for different keys, and partly because itʼs participants donʼt seem to mind, just listen fun to extensively explore the repertoire in carefully (or record it). Later on you may 2) If you have a Round Peak style ban- a particular key or tuning. get an opportunity to play with some of jo with a short scale (26” or less) you can • Usually the decision to change keys the same people in a larger, less exclusive dispense with a capo and tune up a whole is up to the fiddler(s). session. step to A&D. • Listen to what the other instruments • While itʼs good experience to play (especially the fiddles) are doing, and oc- along with a jam of stronger players, you 3) The principal tunings are the open casionally try to play in a way that com- should focus on finding peers and starting G (GDGBD)—which is the open A when plements it (e.g. if the fiddle is playing up sessions with them. • Thereʼs a lot of controversy surround- cially the Akonting from the Senegam- K) Old Time Music ing the question of how many banjos one bian region of West Africa)—any number 1) Sources of repertoire: should have in a session. Many musicians of strings. a) Fiddle tunes (mostly of Scots Irish (whatever instrument they play) prefer & German origin from the Appalachian only one banjo-—on the theory that mul- 2) Plantation late 18th century (gourd and Ozark regions of the US) tiple banjos conflict with each other and instruments—“banjar,” “merrywang”) b) Fiddle tunes from other sources muddy the rhythm. This depends to an ex- (e.g., French Canadian, New England) tent on who the banjo players are and on 3) Minstrel Shows: 1843 (Dan Em- c) Minstrel show songs the compatibility of their styles. Often it mett, Joel Walker Sweeney, etc.) d) Traditional ballads makes sense to have one banjo played in a) The “Minstrel line” consisted of a e) Ragtime two or three-finger style while the other fiddle, banjo, bones, and a tambourine f) Popular music of the 19th and early is doing clawhammer, or for one to play b) Banjo played Stroke Style – large 20th centuries up the neck when the other is playing in rim, fretless, thick neck, gut strings, few g) Blues & gospel music the first position. It really comes down to brackets, often tuned low (famous mak- how it sounds. There certainly shouldnʼt ers: Boucher, Ashborn, and Teed). 2) A Few Key Sources (mostly bands & be more banjos than fiddles (except under c) Blackfaced white people (NY, Phil- fiddlers) by State or Region— extraordinary circumstances)—and prob- adelphia, etc.) copying traditional black • Georgia (Skillet Lickers, Lowe ably a ratio of no more than one banjo music & dance (through Civil war). Stokes, Clayton McMichen) per every 3 fiddles. Most people agree, d) By the late 1840s black people also • Kentucky (Fiddlers W.M. Stepp, Lu- however, that one banjo per jam is really performed in minstrel shows (route to ther Strong, Ed Haley, Doc Roberts, John best (and lots of people also think that two stardom for Bessie Smith, WC Handy, Salyer, Clyde Davenport, Buddy Thomas) fiddles is the limit). Bert Williams, etc.) Clawhammer masters include Walter Wil- • Another area of controversy has to do liams and Buell Kazee. with which chords to play. Many field re- 4) 1870ʼs--Converse introduces the • North Carolina, (Marcus Martin, cordings of fiddle tunes were unaccompa- “classical” 3-finger style Wade Ward, Charlie Poole) nied or else had wretched accompaniment. • “Round Peak area” (mountainous In many cases there are a variety of chord 5) 1880ʼs--SS. Stewart campaigns for Virginia/ North Carolina border) (DaCos- progressions that can work with any par- “respectability”—banjo becomes a white ta Woltzʼs Southern Broadcasters, Camp ticular fiddle tune—but they donʼt work if personʼs parlor instrument Creek Boys, Tommy Jarrell, Pilot Moun- everyone in the jam is playing a different taineers, Fred Cockerham, Kyle Creed) set of chords. Thereʼs no clear way around 6) 1885-1915--Major makers during • Mississippi (Carter Brothers & Son, this—many people resent being told what golden age (Fairbanks, Cole, Stewart, Floyd Ming & His Pep Steppers) chords to play by others in the jam. Best Washburn, Dobson, Bacon, etc.) • Ozarks (Popeʼs Arkansas Mountain- to let the guitar establish the chord pro- eers, Dr. Smithʼs Champion Hoss Hair gression. If you are really unhappy with 7) Survival of banjo in the south—esp. Pullers) the chords (on tune after tune), either find the mountains • West Virginia (Edden Hammons, another jam, or risk people hurling fruit at a) In the mountains--stroke style to French Carpenter, Melvin Wine, Wilson you by unobtrusively whispering out what frailing, (aka dropthumb, clawhammer) Douglas) you believe to be the right chord(s). If fruit b) 2 and 3-finger styles (up-picking, is hurled or people ignore you, drop it. double-thumbing) in piedmont 3) Revival Chronology (very sketchy) • Before you criticize somebody, al- c) Charlie Poole, Snuffy Jenkins, a) Society ladies searching for their ways walk a mile in their shoes. Then, etc.—early three finger players British roots—1890s-1910 when you criticize them, youʼre a mile d) Earl Scruggs and bluegrass banjo- b) Scholarly folklorists—20s-present away and youʼve got their shoes! -1945 c) Popular front movement (Pete • Make friends with a fiddler. Marry e) Melodic Bluegrass banjo—1960ʼs Seeger & 5-string banjo)—30ʼs & ʻ40s one if necessary (cautiously). But find a (Bill Keith, Bobby Thompson, Bela d) The Weavers—late 40s-ʻ60ʼs (pre- way to constantly play with fiddlers—be- Fleck) cursors of the ʻ60ʼs folk revival) cause clawhammer banjoʼs main role is to f) Melodic clawhammer—late ʻ60ʼs e) Kingston Trio and the mass culture accompany fiddles. (Ken Perlmann, John Burke, Alan Feld- “folk scare”—ʻ58-ʻ64 • Despite the power of fiddlers, think man, early Bob Carlin, Reed Martin) f) New Lost City Ramblers—1958 on- twice about giving up the banjo to learn g) Emergence of dynamically com- ward fiddle—youʼll be going back to square plex rhythmic style—late ʻ60ʼs (the cur- g) Alan Jabbour & focus on field re- one for a decade or more! rent “festival” style) (Al Tharpe, Richie cordings, 1968: Hollow Rock, Fuzzy Stearns, Stefan Senders, John Herrmann, Mountain String Bands; Red Clay Ram- J) Short history of the Banjo Gordie Hinners, Mark Olitsky). blers, Highwoods, etc. 1) African gourd instruments (espe- h) 2nd generation to contemporary old time revival: Hellbenders, Volo Bogtrot- ters, Double Decker, Lazy Aces, Fly By although no old timer ever sounded like discover that alternative old time banjo Night, Big Hoedown, etc. that. Yodel-Ay-Hee CD 024 styles are becoming even cooler.

i) Ithaca sound & “modern old time”: • The Freighthoppers: WAITING ON • Still, to my ears, clawhammer banjo Heartbeats, Horseflies, Chicken Chokers, THE GRAVY TRAIN (This album is is the most driving, rhythmic, and excit- Plank Road, Red Hots, etc. about as good as the one that preceded ing or all traditional banjo styles and its it (WHEREʼD YOU COME FROM?). potential is great enough to absorb all the j) Here are some of todayʼs hot fiddlers Frank Lee plays great rhythm throughout talent and hard work you can bring to it. (most are multi-instrumentalists): Bruce (with some neat tricks) Rounder 04332 Molsky, Dirk Powell, Rafe Stefanini, Dan For more info, go to Gellert, Brad Leftwich, Bruce Greene, • The Heartbeats: LIVING BLACK www.troublesomecreekstringband.com Judy Hyman, James Bryan, Mike Bryant, AN Tara Nevins) D WHITE: Lots of great tunes (most blazing fast) with Rose Sinclairʼs banjo k) Some of my favorites among bet- sounding very much like a coffee percola- ter-known clawhammer banjo players: tor (a good thing). Maramac # 9048 (still Dirk Powell, Dan Gellert, John Hermann, available —look for it). Richie Stearns, Rose Sinclair, David Winston, Walt Koken, Reed Martin, Bob • DIRK POWELL & JOHN Carlin, Gordy Hinners. HERRMANN: This early recording shows Herrmannʼs playing at its starkest Some of my favorite recordings of and most powerful. Yodel-Ay-Hee 003. clawhammer: Thereʼs tons more besides these. Look for them at County and El- • The Red Hots: READY TO ROLL: derly, or from Cleffʼd Ear at festivals. Basic, garage-band old time but thereʼs much to be learned from Tom Riccioʼs up- • Bob Carlin: BANGING & SAWING the-neck playing (fretting the 1st & 5th as (w/ 4 great fiddlers: Bruce Molsky, Judy on page 4). Fire Ant Music FA CD-1003 Hyman, James Bryan, Brad Leftwich)—a masterpiece, but it makes these great • Mike Seeger: SOUTHERN BANJO tunes sound more like chamber music SOUNDS: Some interesting clawhammer, than dance music. Rounder 0197 but especially notable for providing ex- amples of virtually every other possible • Mark Simos: RACE THE RIVER old time banjo style. Smithsonian Folk- JORDAN: Mostly great original tunes ways 40107 from a terrific fiddler, but notable here for Dirk Powellʼs perfect banjo accompani- Always remember: ment—heʼs all over these crooked tunes • Old time music comes down to us like a duck on a June bug. Some good from traditional sources. While itʼs OK to banjo playing by Molly Tennenbaum, too. enhance, embellish, or soup up an arrange- Yodel-Ay-Hee CD 017 ment, your rendition of any tune should be grounded in a familiarity with the source • Tommy Jarrell & Fred Cockerham, recording. TOMMY & FRED CD COUY-CD2702 and Tommy Jarrell & Kyle Creed, JUNE • As your playing improves youʼll dis APPLE CD HER-CD038. Master fiddler cover that much of the joy of old time Jarrell teamed up with each of the two music comes from an understanding of greatest Round Peak banjo players. the playing styles of key source musicians and those prevalent in key regions. • Reed Martin: OLD TIME BANJO: More melodic than percussive, but a bril- • There are many other styles for play- liant player of southern music: private la- ing old time banjo—as people grow tired bel (call Martin @ 301-229-3482) of ubiquitous and incessant clawham- mering, these alternatives are coming • THE IMPROBABILLIES: Richie more into vogue. So if you want to play Stearns has a perfect touch and timing— clawhammer because itʼs “cool,” you may