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Old Time Clawhammer Banjo Workshop

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Old Time Clawhammer Banjo Workshop 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.
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