Alfred’s Teach Yourself To Play Banjo
MORTY MANUS RON MANUS Everything you need to know to start playing the 5-string banjo now!
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Copyright © MMXIV by Alfred Music All rights reserved. Printed in USA. ISBN-10: 1-4706-1531-2 (Book & Online Video/Audio/Software) ISBN-13: 978-1-4706-1531-4 (Book & Online Video/Audio/Software) Audio recording performed by Scott Linford. Cover photo courtesy of Gibson USA
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CONTENTS Getting Started Strum No . 5 ...... 32 A Short History of the Banjo ...... 3 Skip to My Lou ...... 33 The Five-String Banjo ...... 4 Strum No . 5 (continued) ...... 34 The Hands ...... 5 Hand Me Down My Walkin’ Cane ...... 34 Picks ...... 5 This Land is Your Land ...... 35 Tightening the Head ...... 5 ● MINI MUSIC LESSON: The Arpeggio ...... 36 Holding the Banjo ...... 6 Strum No . 6 ...... 36 Tuning Your Banjo ...... 6 The A7 Chord ...... 36 Tuning to a Piano or Other Keyboard ...... 7 Aura Lea ...... 37 Tuning to a Pitch Pipe ...... 7 Strum No . 7 ...... 38 Tuning to a Tuning Fork ...... 7 The Cowboy’s Dream ...... 38 Tuning by Ear ...... 7 Strum No . 8 ...... 40 Using an Electronic Tuner ...... 7 New River Train ...... 41 Caring for your Banjo ...... 8 Strum No . 9 ...... 42 Buying a Used Banjo ...... 8 Daisy Bell (A Bicycle Built for Two) ...... 42 Starting to Play Chords ...... 9 Melody Playing ...... 44 Playing the G Chord ...... 9 Goodnight Ladies ...... 45 Playing the D7 Chord ...... 11 My Home’s Across the Smoky Mountains ...... 46 Getting Acquainted With Music ...... 12 Lolly Too Dum ...... 47 ● MINI MUSIC LESSON: Ties ...... 14 ● MINI MUSIC LESSON: Hammering-On ...... 48 Down in the Valley ...... 14 Come and Go with Me ...... 49 ● MINI MUSIC LESSON: Eighth Notes & Rests ...... 15 ● MINI MUSIC LESSON: Pulling-Off ...... 50 Go Tell Aunt Rhody ...... 15 Cotton Eyed Joe ...... 50 ● MINI MUSIC LESSON: Pickup Measure, Strum No . 8b ...... 51 Dotted Quarter Note ...... 16 The Old Gray Mare ...... 51 Cockles and Mussels ...... 16 Bluegrass ...... 52 Clementine ...... 17 Bluegrass Roll No . 1 ...... 52 Strum No . 1 ...... 18 Black Eyed Susie ...... 53 ● MINI MUSIC LESSON: D .C . al Fine ...... 19 Bluegrass Roll No . 1a ...... 53 Tom Dooley ...... 19 Strum No . 2 ...... 20 Old Joe Clark ...... 54 Old Paint ...... 20 Bluegrass Roll No . 2 ...... 55 The C Major Chord ...... 22 Little Maggie ...... 55 When the Saints Go Marching In ...... 23 ● MINI MUSIC LESSON: C Tuning ...... 56 On Top of Old Smokey ...... 24 The Wabash Cannonball ...... 57 Oh! Susanna ...... 25 Home on the Range ...... 58 Strum No . 3 ...... 26 Strum No . 10 ...... 59 Strum No . 4 ...... 26 ● MINI MUSIC LESSON: Transposition ...... 60 Worried Man Blues ...... 27 The Capo ...... 61 The G7 Chord ...... 28 What to Do About the 5th String ...... 61 Jesse James ...... 28 Chords in G Tuning ...... 62 She’ll be Comin’ Round the Mountain ...... 30 Chords in C Tuning ...... 63 Red River Valley ...... 31 Fingering Charts ...... 64 TEACH YOURSELF TO PLAY BANJO 3
GETTING STARTED A SHORT HISTORY OF THE BANJO
There are four types of banjos in which was such an important part of stringed instruments to imitate the common use: the four-string, short- their musical culture . There sounds of Dixieland jazz they heard neck tenor; the four-string long-neck is also evidence the fifth string on radio .) plectrum; the six-string banjo tuned dates back to the instrument's Bluegrass soon became an like a guitar; and the one this book African roots . independent, important and exciting will teach you how to play, the five- Surprisingly, the five-string banjo was part of the American music scene . string banjo . often used in the 19th century for Banjo pickers like Earl Scruggs, Don Banjos were brought to America by playing classical melodies . There is Reno, Bobby Thompson and many West Africans who played an much printed music from the period others brought the instrument to instrument called the bania. They may 1875 to about 1910 that proves that new heights of virtuosity, and have adapted the bania from similar the instrument was in great demand innovators like Dick Weissman and stringed instruments they heard the for this purpose . (To hear what this the incredible Bela Fleck continue to Arabs playing . The bania has several sounded like, listen to the historic push the boundaries of what the strings stretched over a wooden neck recordings of banjo virtuoso Fred instrument can do . and hollow gourd, which acted as a van Epps, who recorded before the In this book we will give you a resonator . Early in the development first World War .) thorough grounding in the basics of of the instrument its resonance was Although it had always been popular five-string banjo playing . No matter improved by slicing a piece off the as a folk instrument, the banjo really whether your interest lies in side of the gourd and stretching an came into its own with the bluegrass, folk, jazz or even classical, animal skin over the resulting hole . It beginnings of bluegrass music in the the fundamentals of playing the is this skin (now usually made of late 1920s . The basic bluegrass band instrument are the same . After plastic) that gives the banjo its consists of five instruments: fiddle, completing Teach Yourself to Play characteristic bright, “snappy” sound . mandolin, bass, guitar and five-string 5-String Banjo, you’ll be on your way The earliest American banjos that banjo . (It is said that the early to becoming an excellent player in still exist date from about 1830 . Soon bluegrass musicians were using your favorite musical style! after that an important improvement and a brilliant innovation permitted players to reach the heights of technique previously unheard of: the improvement was the addition of frets (which early banjo makers borrowed from the guitar and mandolin) and the innovation was the addition of a fifth string . Unlike the four longer strings, however, the fifth string is a short drone string, which means that no matter what else is being played, the fifth string always sounds the same note, either the root or the fifth of the key . One possibility is that this innovation was an attempt by American banjo players of Scottish-Irish ancestry to imitate the sound of the bagpipe*
*Bagpipes have one or more drone pipes that sound the same note regardless of what else is being played . The melody is played on different pipes, called chanters . The modern banjo player gets a comparable effect by playing the melody on the four Earl Scruggs, here with his partner Lester Flatt and their band, is famous for his three-finger style of long strings while the short fifth string playing . He also invented the “Scruggs peg,” a device used for making quick changes in tuning of B and G strings . Photo courtesy of Country Music Foundation. continually sounds the same note . 22 TEACH YOURSELF TO PLAY BANJO
The C Major Chord The C chord, along with the G and D7 chords you have learned, comprise a group of three chords called the principal chords in the key C 2 o 1 3 of G . Using only these three chords you can accompany literally thousands of folk, country, 1 blues and other songs . 2 2 If a chord symbol does not have “7,” “min ”. or some other abbreviation after it, it is always a major chord . Thus G and C are both major chords . Here’s how to play the C major chord:
Finger the C chord as shown above . Then play the strings one at a time to make each one sound clear . No buzzes or dull thunks, please! Once you can play the C chord perfectly, practice the first exercise in using Strum No . 1 . Then use Strum No . 2 to play the second exercise .
Track 17
1 . 4 C C C C C C C C & 4 ’ ’ ’ \ ’ ’ ’ \ ’ ’ ’ \ ’ ’ ’ \ ’ ’ ’ \ ’ ’ ’ \ ’ ’ ’ \ ’ ’ ’
Track 18
2 . 3 C C C C C C C C & 4 ’ ’ \ ’ ’ \ ’ ’ \ ’ ’ \ ’ ’ \ ’ ’ \ ’ ’ \ ’ ’ The following exercises will train your fingers to change chords smoothly . Keep a steady beat . This is very important . If you have a metronome, set it at 60 beats per minute and play through the exercises using the basic strum (striking down on the strings with the fingernails of the right hand) . When you can do this smoothly, without hesitating or missing a beat, gradually increase the tempo until you can play the exercises at 120 beats per minute (marching beat) .
Track 19
1 . 4 G G C C G G D7 C & 4 ’ ’ ’ \ ’ ’ ’ \ ’ ’ ’ \ ’ ’ ’ \ ’ ’ ’ \ ’ ’ ’ \ ’ ’ ’ \ ’ ’ ’ \ 7 D ’ ’ ’ \ C ’ ’ ’ \ G ’ ’ ’ \ G ’ ’ ’ Track 20
2 . 3 G C D7 G D7 C G D7 & 4 ’ ’ \ ’ ’ \ ’ ’ \ ’ ’ \ ’ ’ \ ’ ’ \ ’ ’ \ ’ ’ \ G ’ ’ \ C ’ ’ \ G ’ ’ \ G ’ ’ Track 21
3 . 4 G C G C G C G C C D7 C D7 G C G C & 4 ’ ’ \ ’ ’ \ ’ ’ \ ’ ’ \ ’ ’ \ ’ ’ \ ’ ’ \ ’ ’ \ 7 7 D ’ C ’ \ D ’ C ’ \G ’ C ’ \ G ’ C ’ \ G (strum and hold) After you can play the above exercises using the basic strum, try the two exercises in using Strum No . 1 and the exercise in using Strum No . 2 .
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The chords used in this song are: G C D7 G7 o o o o 2 o 1 3 o 2 1 o o o o 3 This folk classic is a perfect song on which to play Strum No. 5. Play it 1 1 with good spirit and a solid beat. 2 2 2
3 This Land Is Your Land Moderately Track 37 Chorus: Moderately7 7 7 ModeratelyD D G G Chorus: D7 D7 G Words and MusicG by7 WoodyChorus: Guthrie Moderately7 7 7 # ModeratelyD D G G Chorus: # C D7 D7 G G7 Chorus:œ œ & # C D’7 ’ ’ ’ D’7 ’ ’ ’ G’ ’ ’ ’ G’7 œ œ & # C ’1 &’uh ’2 &’uh ’1 &’uh ’2 &’uh ’etc. ’ ’ ’ ’ 3 œ 3 œ œ & # ’1 &’uh ’2 &’uh ’1 &’uh ’2 &’uh ’etc. ’ ’ ’ ’ his3 œ land3 œ is & C ’1 &’uh ’2 &’uh ’1 &’uh ’2 &’uh ’etc. ’ ’ ’ ’ his3 œ land3 œ isœ & C ’1 &’uh ’2 &’uh ’1 &’uh ’2 &’uh ’etc. ’ ’ ’ ’ his3 œ land3 œ isœ 1 & uh 2 & uh 1 & uh 2 & uh etc. his3 land3 is his land is C C G G C C G G # C C G G # C˙ ˙ Cœ œ œ G˙ ˙ Gœ œ & # C˙ ˙ Cœ œ œ G˙ ˙ Gœ œ œ & # ˙ ˙ œ œ 3 œ 3 œ ˙ ˙ œ œ 3 œ œ & # your ˙ land,˙ œ thisœ land3 œ 3 isœ my ˙ land.˙ œ r œom al3 œ - œi- & your ˙ land,˙ œ thisœ land3 œ 3 isœ my land. r œom al3 œ - i- & your land, this land3 œ 3 isœ my ˙ land.˙ œ r œom al3 œ - œi- your land, this land3 3 is my land. r œom al3 - i- your land, this land is my land. rom al - i- D7 D7 G G7 D7 D7 G G7 # D7 D7 G G7 # D˙7 ˙ Dœ7 œ œ œ G˙ ˙ Gœ7 œ œ & # D7 D7 œ G˙ ˙ Gœ7 œ œ œ & # 3 ˙ 3 ˙ œ œ œ 3 œ 3 œ ˙ ˙ œ 3 œ œ 3 œ œ & # or3 ˙ - 3 nia˙ œ toœ theœ ew3 œ 3 orkœ is - land. r3 œom theœ r3 edœ - wood & or3 ˙ - 3 nia˙ œ toœ theœ ew3 œ 3 orkœ is˙ - land.˙ œ r3 œom theœ r3 edœ - wood œ & or3 ˙ - 3 nia˙ œ toœ theœ ew3 œ 3 orkœ is˙ - land.˙ œ r3 œom theœ r3 edœ - wood œ or3 - 3 nia to the ew3 3 ork is - land. r3 om the r3 ed - wood or - nia to the ew ork is - land. rom the red - wood C C G G C C G G # C C G G # C˙ ˙ Cœ œ œ œ G˙ ˙ Gw & # C˙ ˙ Cœ œ œ œ G˙ ˙ Gw & # ˙ ˙ œ œ œ 3 œ 3 œ ˙ ˙ w & # or ˙ - est˙ œ toœ theœ ul 3 œ Str3 eamœ wa ˙ - ters,˙ w & or ˙ - est˙ œ toœ theœ ul 3 œ Str3 eamœ wa - ters, & or - est to the ul 3 œ Str3 eamœ wa ˙ - ters,˙ w or - est to the ul 3 Str3 eam wa - ters, or - est to the ul Stream wa - ters, D7 D7 G G D7 D7 G G # D7 D7 G G # Dœ7 ˙ œ D7 j œ G G & # D7 Dœ7. j œ Gw Gœ & # 3 œ ˙ œ œ. œj œ 3 œ 3 w œ & # this3 œ land˙ wasœ made œ. or œj you œ and3 œ 3 wme. œ & this3 œ land˙ wasœ made œ. or œj you œ and3 œ 3 wme. œ Verse:& this3 œ land˙ wasœ made œ. or œ you œ and3 œ 3 wme. œ this3 land was made or œ you and3 3 me. G this C land C was madeG or Gyou and D7 me. D7 G As I’ was’ \walk-ing’ ’ ’ \ that’ rib-bon’ ’ of\ high-way’ ’ ’ \ I ’saw’ a ’- bove\ ’ me’ ’ \ that’ end-less’ ’ \ sky ’- way,’ ’ \ ’
C C G G D7 D7 G G I’ saw’ be’ - low\ ’ me’ ’ \ that’ gold-en’ ’ \ val -’ ley;’ ’ \ ’ ’ ’ \ This’ land’ was’ \ made’ for’ you ’and me.\ (Repeat’ ’ Chorus)’ \ \\ TRO © Copyright 1956 (renewed), 1958 (renewed), 1970 Ludlow Music, Inc. New York, New York. Used by Permission.
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MINI MUSIC LESSON PULLING-OFF A complementary technique to hammering-on is called pulling-off . It, too, can be used to enhance accompaniment or melody picking . Here’s how to do it . Use the third finger on the left hand to finger the first string, third fret . Pick the first string with the index finger of the right hand . This produces the note F . Now, without using the right hand, pull the third finger away from the fingerboard so that the open first string sounds . You can’t just pick up the finger; you must pull it sideways so that the open string sounds clear . Once you can pull-off on the first string, try it with various other notes, such as the second string, third fret; the third string, second fret; the fourth string, second fret . We’ll use the letter “P” to mark the places where a pull-off is desired . Try this new technique on an old square dance tune . It uses pulling-off and, in a few places, hammering-on . Also notice that the B note is played in an alternative place—the third string, Pete Seeger, who has composed over 100 songs, uses a straightforward melodic fourth fret . But use the third finger to play it . and harmonic style . Although an accomplished banjo player, Seeger emphasized the functional supportive accompaniment of the banjo rather than its virtuosity . Photo courtesy of Country Music Foundation. Cotton-Eyed Joe Track 52
American Square Dance Tune No chords are used in this arrangement . P P P P P # # 2 œ œ œ œ œ œ & # 24 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ & 24 4/0œ 3/0œ 3/4œ 3/0œ 3/4œ 3/0œ 3/2œ 2/0œ 2/1œ 4/0œ 3/0œ 3/4œ 3/0œ 3/4œ 3/0œ 3/2œ 3/0œ 4/2 3/0œ & 4 4/0œ 3/0œ 3/4 3/0œ 3/4 3/0œ 3/2œ 2/0 2/1 4/0œ 3/0œ 3/4 3/0œ 3/4 3/0œ 3/2œ 3/0œ 4/2œ 3/0œ 4/0œ 3/0 3/4 3/0 3/4 3/0 3/2 2/0 2/1 4/0œ 3/0 3/4 3/0 3/4 3/0 3/2 3/0 4/2œ 3/0 P P P H P # P * # œ œ œ œ œ œ œ œ . & # œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ . & 4/0œ 3/0œ 3/4œ 3/0œ 3/4œ 3/0œ 3/2œ 2/0œ 2/1œ 1/2 1/0œ 3/4œ 3/2œ 3/0œ 3/4œ 3/2œ 3/0œ 4/2 3/0œ . & 4/0œ 3/0œ 3/4 3/0œ 3/4 3/0œ 3/2œ 2/0 2/1 1/2 1/0 3/4 3/2œ 3/0œ 3/4 3/2œ 3/0œ 4/2œ 3/0œ . 4/0œ 3/0 3/4 3/0 3/4 3/0 3/2 2/0 2/1 1/2 1/0 3/4 3/2 3/0 3/4 3/2 3/0 4/2œ 3/0
P P H # œ P œ P œ œ P P P ** # . œ œ œ œ œ œ œ œ œ œ œ œ œ . & # . œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ . & . 1/2 1/0 3/4œ 3/2œ 3/0œ 1/2 1/0 1/5 1/2 1/0 3/4œ 3/2œ 3/0œ 3/4œ 3/2œ 3/0œ 4/2œ 4/0œ 3/0œ . & 1/2 1/0 3/4 3/2 3/0 1/2 1/0 1/5 1/2 1/0 3/4 3/2 3/0 3/4 3/2 3/0 4/2œ 4/0œ 3/0 1/2 1/0 3/4 3/2 3/0 1/2 1/0 1/5 1/2 1/0 3/4 3/2 3/0 3/4 3/2 3/0 4/2 4/0œ 3/0
This is an example of pull-offs and hammer-ons used in solo melody playing .
* This repeat sign means to go back and play again from the beginning .
** This second repeat means to go back and play again from the earlier repeat .
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