This is the free online Creative Commons licensed edition of "The How and the Tao of Old Time Banjo".
"The How and the Tao of Old Time Banjo" is a genuine, printed on paper and sold in stores around the world "book". You can buy a copy at the Pik-Ware Publishing web site or from Amazon. It is also available from your local bookstore or music store.
It's not just available! This book has actually been pretty successful. It has been read, enjoyed and, since it is an instruction manual, used by people around the world. You can even get a copy of this book as a CD ROM "Deluxe Edition" packaged with two and one-half hours of video instruction and a song book.
The only difference between this document and the book sold in stores is that this one is free. You can read it, send it to a friend, display a copy on your web site and, most of all, use it to learn how to play the banjo without spending a dime. You can even print it out if you wish. However, you will most likely spend more on paper and ink printing it yourself than you would by just buying a copy of the book.
There is a lot more I would like to say. I could fill volumes with nothing but anecdotes about how writing this book has changed my life but this isn't the time or place to go into that. In fact, everything that needs to be said in regards to who I am and why I am doing this is covered in the book.
This is what I've "got". Now it's your turn.
Patrick Costello
October 2004
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© 2003 Joseph Patrick Costello III
"What have you got, kid?" The old man asked me around his cigar.
A banjo!" I replied.
"I know that you little dipstick." He said rolling his eyes "You think somebody as old as I am hasn't seen a banjo before? What have you got? Play something."
I thought about trying to say something to get out of this. As I stood there fidgeting the old man shook his head, picked up his guitar and started to walk away.
Oh man, I thought to myself, I'm really blowing something here. It was an August day. The festival was being held on this big open field and the sun was just hammering down on us. I knew a total of three and a half songs. I didn't want to make a fool out of myself but I also had the feeling that if I chickened out here I was going to miss out on something. I closed my eyes for a second, took a deep breath, moved my banjo strap a little bit on my shoulder and started to pound my way through a tune called "The White House Blues".
The old man cocked his head and nodded a little before he turned around. He stood there holding a beat up guitar while cigar smoke billowed around his head. He seemed to enjoy listening to me ruin a perfectly good song.
He didn't walk away and he didn't tell me to stop so I ran through the tune again. I looked back up and saw that the old man had waved a couple of his buddies over. Old guys wearing kaki slacks that went up nearly to their armpits slinging battered guitars and mandolins gathered around me.
"That almost sounds like White House Blues."
"Can't be. Ain't no kid that young knows that song."
"It might be The White House Blues, but the kid is so scared that he's playing it too fast."
Nobody said stop so I ran through it again. I was starting to calm down a bit. The old man with the guitar said something to one of the guys standing around me that I didn't hear but his cronies all got a good chuckle out of it. Most of the time he just listened with his head sort of cocked off to one side while he smoked his cigar and tapped his foot.
I finished another run through the song and stopped. The old guys gave a little cheer and a couple of them gave me a pat on the back saying, "not bad, kid!" The old man with the guitar just went on smoking for a moment. Then he began playing "The White House Blues". A fiddle joined in. Then a mandolin and a few more guitars started weaving in and out of the melody. They ran through that song the way you would walk through your own living room.
In other words, they played it a heck of a lot better than I did.
After playing the song a few times the old guy with the cigar nodded to his buddies and they all ended at the same time. The playing was great but that trick of everybody stopping at the same time just blew me away.
He said, "First thing you've got to do is slow down. Then you want to work on that move into the F chord. You can try it like this." He went on to show me a couple of tricks to smooth out the song while his gang looked on.
One of the other guys showed me a lick and another had me play the song again while he thumped out the rhythm on his mandolin.
"It's the rhythm, kid," he said "That's got to stay the same no matter what happens."
Once they knew that I was getting what they were showing me they sort of backed off and the old guy with the cigar said, "Ok now, get lost. Go on and work on that. Don't come back until you can do like we showed you." And they all walked away leaving me standing in the hot August sun wondering what the heck had just happened.
I did go home and practice what they shared with me and I kept coming back. Not just to that group of old men but anywhere I could run into somebody and pick up a tune, lick or idea.
I am starting out with this story because it is really important that you understand right off the bat that you cannot become a banjo player from reading a book.
I can share with you the basic techniques needed to start playing and I can show you some tricks that will make your playing more exciting but nothing is going to take the place of experience.
I got started on the banjo when I was fifteen years old because my father bet me his banjo that I couldn't teach myself how to play it. Today my father and I like to joke that while he might have lost the bet he came out a winner because the two of us have had some pretty amazing adventures over the years sharing our love of music with people around the world.
As a kid in Philadelphia I found it hard to glean useful information about playing the banjo from books. There were one or two good titles but most of the things I know about the banjo today are either the result of thousands of hours of playing or were taught to me by other banjo players. Back then I used to talk quite a bit about how much easier it would be to learn the banjo if there was a book that just laid out how things worked. A book that said, "Ok now, go on and work on that. Don't come back until you can do like we showed you."
An old banjo-picking friend always said that he was going to write that book. He would ramble on for hours about how he was going to write it all down but he never got around to picking up a pencil. When he passed away a few years ago I figured that book was never going to be published because I sure wasn't going to write it.
Not too long ago a teacher friend of mine mentioned that he was starting an after school banjo program so I decided to put together a couple of pages covering tuning and basic old time banjo skills to get the kids started. It was never my intention to write a "banjo book" but when I got past sixty pages I realized that this was going to be a little bit more than a mimeographed handout. It was turning into something like the resource that we talked about all those years ago.
Don't go into this thinking that you can work your way through it in a weekend. It's going to take a good deal of time and hard work just to get the basic frailing strum down smooth. It's going to take you time to be able to change a few chords without screwing up.
An old friend of mine used to tell his students that it takes about five hundred to a thousand hours of practice to become a half-decent banjo player. Whether those hours take months or years to complete depends on how hard you are willing to work. The good news is that if all you ever manage to learn is the basic strum and three chords you can play thousands, yes thousands, of songs.
I don't expect you to be familiar with all the songs in this book. When I was just starting on the banjo a big part of the fun was the fact that everything was brand new. In a lot of ways not having somebody around to tell me exactly how a song should be played gave me the freedom to come up with my own ideas. Most of these songs are very old but to a beginner they are brand spanking new.
If you do get stuck on the melody line of a song I suggest that you do what I did and go exploring. Find an old guitar player in your town. Bug the local radio station to play some folk music. Browse the Internet or just make something up. There is no right or wrong way here. Just follow your heart.
So take your time with this book. Get a technique or a lick out of it. Then get lost for a while and "Don't come back until you can do like we showed you."
Patrick Costello
April, 2003
My father, known to
our banjo students around the world as "Dear Old Dad," was
instrumental in both helping me learn to play the banjo and putting
the book together. I asked him to write down a few thoughts to help
get things rolling.
-Patrick
There is a lot of "stuff" in this book. The 5-string banjo is a great deal of fun to play and learn but please remember that the mastery of any instrument is a life long process. Take your time and get the basics down solid. Relax and enjoy the small successes that are the result of practice and hard work. Trust me, there is no easy way. You cannot substitute anything else for "time behind the pot." Remember, the guy who practices the most gets the gigs.
Patrick and I have had a lot of musical adventures. I can remember us sitting in on jam sessions wondering how we would ever be able to play and sing "like that." Well, we worked at it and now folks look at us and say the same thing. The fun is not in the being there. The fun is in the journey. I would not trade the most embarrassing musical moment spent with my son for anything. The memories are priceless and best of all they are mine.
I know that our methods work. All I have to do is watch our "students" play, teach and share music with other people. They all started with the basic frailing strum, a desire to learn and a commitment to progress. You can do it. Keep an open mind. Explore different ideas and sounds. Play anywhere and everywhere that you can. If you wait until you are "good enough" you never will be.
The happiest people that I have met on the musical road are families. Get your kids involved as soon as they show interest and you will have your own adventures to write about some day.
Thank you son. It has not always been easy but we sure had a wild old time.
Pat Costello
May 2003
If you ask five different banjo players what the term "old-time banjo" means you are likely to get twenty different answers.
Some folks will say that old-time banjo is all about playing fiddle tunes note-for-note right along with a fiddler. Some will tell you that it's all about minor key and modal tunes relating to coal miners and murderers. Other players will say it's about rhythm and another will say that it's all about alternate tunings and historical interpretation.
The funny thing is that they are all right in some way or another.
Old-time banjo takes a little bit from every kind of music that has come into America since the colonial days and mixes it up into an extremely powerful and dynamic approach to music. Rather than focus on any one aspect of old-time banjo playing I've found that things seem to work better in the beginning if you learn a handful of basic techniques. These can then be used to make the music that you want to play. In the following pages we will talk a little bit about banjo setup and proceed to dive into the basic frailing strum. After that things will start to speed up. Near the end of this "How" section you will find tips on reading music and playing by ear. None of these techniques are absolutely required to play the banjo. They are offered here because you may well need them for something you want to do down the road.
Of all the techniques in this book the basic frailing strum is the most important because everything else, from playing and singing to laying down sizzling fast licks in a fiddle tune or a breakdown, is built on the basic strum.
Take your time with the basic strum and get used to playing rhythm and changing chords before you start exploring other techniques. What you do and where you go after the frailing strum is up to you. It's your banjo and it's your music.
I'm going to take a leap of faith here and assume that you have a five-string banjo.
The basic parts of a banjo are shown on the graphic on this page. I don't want to get too specific about this because there are just too many variations in five-string banjo design to list.
Your banjo may or may not have a resonator (a big dish attached to the back of the banjo) and it may or may not have a tone ring (a metal or wooden hoop under the head that makes the banjo ring.) You may have what's referred to as a mountain banjo or you may be playing a copy of an early minstrel era banjo.
Whatever it is it'll work but if you want to play you are going to have to get it properly set up and in tune.
Of all the skills required to play the banjo tuning is probably one of the most difficult to master. It is going to take you a while to get used to how your banjo is supposed to sound.
When people refer to the strings of a banjo they are almost always numbered one through five with the fifth string being the short string ending at a peg located at the fifth fret.
I strongly recommend that you purchase an electronic chromatic tuner. It makes learning how to tune much easier.
There are quite a few makes and models on the market with a pretty wide price range. I would not recommend buying the most expensive tuner because if you start playing out you will most likely lose or drop it. I've left more than one nice tuner sitting on a park bench or in a church hall never thinking about it until I was more than halfway home.
When you are tuning your banjo you should know how the strings are numbered. The short string is the fifth string. When you are holding your banjo the fifth string will be on top and the first sting will be closest to the floor.
Your banjo is tuned to an open G chord.
Be sure to have the string ringing when you crank on your tuning pegs. This helps you avoid tightening the string past its' breaking point.
To tune your banjo without a tuner just follow these steps:
This also works as a quick and easy way to check your tuning between songs. Just don't do it into the microphone if you are on stage.
If the bridge is out of place no amount of tuning is going to make your banjo sound right. A quick & easy way to check bridge position is to take an electronic tuner and compare the sound of the first string played both open and fretted at the twelfth fret. Your tuner should give you a D note for both the fretted & open strings. If your first string fretted at the twelfth fret reads a little sharp or flat just move the bridge backward or forward until it's in tune.
Once you get the bridge in the proper position mark around the feet with a pencil so that you can put it back in the correct place easily.
The bridge is held in place by the tension of the strings. If you slacken or remove the strings the bridge will fall off. Do not glue the bridge in place.
I really like the way my banjo plays with a low bridge but most new banjos come with a pretty high bridge and action ("action"is a term musicians use to describe how high the strings are from the fretboard) so you may want to visit your local music shop to try out a few different bridges. They are not expensive and there are a lot of different types and heights both standard and compensated.
(A compensated bridge is designed to make the third string intonate properly.) You will be amazed at the difference that bridge height or thickness can make to playability and tone.
On some banjos you can adjust the tension of the strings behind the bridge with the tailpiece. Experiment with it and see what you get. The "trick" to using an adjustable tailpiece is to push the tailpiece down towards the head with one hand to take the pressure off the adjusting screw on the back of the tailpiece. Use your free hand to tighten or loosen the adjusting screw.
I prefer light gauge strings. I know a lot of folks who think that
a banjo needs really heavy strings but the problem for a beginner
is that heavier strings are harder to play. Believe me, high
actions and heavy strings have caused many new banjo players to
quit.
Do yourself a favor and start out with light gauge strings and a reasonably low action. There is no need to complicate the learning process by adding cramped and torn up fingers.
On some short-scale banjos a heavier gauge string is needed because with a shorter neck there is a lot more "play" in the strings.
Some banjos were never designed to use steel strings but rather strings made out of nylon or gut. If you plan on starting with an old banjo be certain that it will take the tension of steel strings. If you are not sure always ask!
Your banjo strings run from the tailpiece, over the bridge, over the nut and attach to the tuning pegs in the headstock. The tricky part of stringing your banjo is attaching the strings to the tuning pegs and getting everything in the right direction. The headstock diagram shows how it works. This is important because if you get the directions wrong it puts a lot of strain on the nut.
There are many techniques for securing the strings to the tuning pegs. I prefer to run the string from the tailpiece through the hole in the tuning peg and pull it tight. Then I hold the string at the first or second fret to keep it tight at the tailpiece while I loop the string back around to where I ran it through the peg. Run it through, pull it tight and then tune up. This method won't leave a lot of slack string around the tuning post and has worked well for the last twenty years or so on my banjo.
Cut any extra string off the tuning peg with wire cutters or curl it by running the excess between your thumb and a nickel. Make sure that your fifth string wraps in the same direction as your fourth and third strings.
Another
tricky part of banjo setup is tightening the head" The crazy thing
about the banjo is that there is no standard for head size or head
tensioning systems" Most modern banjos come with eleven- inch heads
but this can vary from smaller than six inches to larger than
thirteen inches in diameter" Banjo heads come in a wide variety of
thickness and can be made of Mailer, calfskin and a bunch of other
"stuff"" It's up to you to decide what is right for your banjo but
please don't start changing things until you have been playing for
a while.
My rule of thumb regarding banjo head tension is that if you run your hand under the banjo head and can feel the feet of the bridge sinking into the head you might want to tighten it a little bit.
Your banjo head has to have an even tension all the way around" An easy way to make sure that you achieve this is to move back and forth across the head (see the diagram for an example) while you tighten the brackets" Just give a quarter of a turn each time" Take it slow and make sure that your head is even all the way around"
Don't get carried away" The only thing that sounds worse than a head that is too loose is one that is too tight.
To tighten your banjo head you will need either a bracket wrench (ask your local acoustic music shop) or a very small adjustable wrench"
In old time banjo we don't really need to use fingerpicks because nearly all of the playing is accomplished by striking the strings with your middle fingernail.
Most new banjo players go through some kind of fingernail angst because when you bang on a steel wire for any period of time your fingernail tends to break.
There are a lot of home remedies for thicker and stronger nails but I have never known any of them to work" Some players will go to a nail salon and have just their picking finger done" I have also heard some rather gross stories of banjo and guitar players trying to make artificial nails with pieces of ping-pong balls and crazy glue" That doesn't work and the crazy glue will really screw up your fingernail.
The best approach that I have found is to keep my picking nail at a reasonable length and just trim it a little bit or file it down if it gets torn or chipped" The less you think about your picking fingernail the less trouble you will have with it.
If you do break a nail and you need some volume for a jam session you can purchase a fingerpick at your local music shop and wear it over the top of your fingernail" Keep in mind that fingerpicks were not designed to be worn this way so you'll have to do a little bit of bending and twisting to make it fit.
You will need a strap for your banjo" Everybody has his or her own way of attaching a strap. I usually put the strap on the second bracket hook after the heel (next to #3 on the head tension diagram) and two brackets before the tailpiece (between #4 & #8 on the head tension diagram.)' You want to put the strap over your head and with your right arm through the strap (or left arm if you are playing a left-handed banjo.)' Tighten the strap so that it keeps the banjo neck up without any support from your fretting hand.
There are quite a few types of banjo straps available" I personally like to use a guitar strap. I just take off two bracket hooks, run the leather tabs of the guitar strap through the bracket hooks and put them back on my banjo" Some banjo straps have metal clips and others use leather tabs held in place by Chicago screws (how's that for a great name for a string band?) Shop around and use whatever feels good and fits your budget.
A music stand is another great tool to have. It will be a lot easier to follow the exercises in this book or play a tune from a songbook if you use a music stand. You can pick one up in any music store for a few bucks.
Sooner or later you will also need a capo. A capo is a clamp that fits on the fingerboard to make it easier to play in keys like A without retuning. Well, that's the idea. The truth is that most of the time you will have to check your tuning after you put on a capo because most models have a habit of putting your banjo out of tune.
There are many different types of capos on the market ranging from simple elastic band units that you can pick up for pocket change to ultra-fancy models costing several hundreds of dollars. The funny thing is that they all do the same job. I don't use a capo much anymore but when I have to I just use my guitar capo. I've found that a guitar capo works better because it is a lot bigger and as a result is less likely to put my banjo out of tune.
An instrument stand is a nice thing to have. While your banjo is a lot safer in its' case I have found that a banjo that is always in a case doesn't get played as much as a banjo kept within easy reach.
Another thing you need is a place to practice with an armless straight-backed chair. As you get more proficient with the banjo it won't matter what you sit on, how you sit or where you practice but in the very beginning you really want to have someplace to practice without any distractions so you can focus on what you are doing.
There are a lot of other setup issues. Things like a warped neck or a cracked heel (it happens) are best left to a good repair shop. Other issues may be unique to your banjo. Some banjos cannot be fixed. Use your head and don't get so focused on setting up your banjo that you never get around to playing. There is no substitute for practice. The most expensive banjo set up with the highest priced gadgets is useless if the person holding it cannot play.
For a complete overview of banjo setup you might want to check out the two and a half hour video All About Your Banjo by Karl & Sarah Dieterichs available at http://www.funkyseagull.com.
Now we are going to cover the basic frailing strum. This is the root of just about every down-picking banjo style. I know, right about now you want to know why it's called "frailing." I can't answer that question and neither could the folks who taught me. I never thought much about it because it's such a cool word. Anybody can "pick" a banjo but when you tell somebody that you are "frailing" it makes you sound like an expert even if you can't make it all the way through a song yet.
The basic frailing technique involves playing the first four strings of your banjo with the back of your middle fingernail while playing the fifth string with your thumb to create a quarter note and two eighth note rhythm. It's not a hard thing to do but it can feel a bit awkward in the beginning because we tend to think of playing the banjo as a matter of picking "up" with our fingers. It gets a lot easier with practice so just take this part of the book slow and easy.
First make sure your banjo is in tune. Then sit in a straight-backed chair with no arms. I know, the sofa or the recliner is much more comfortable but for now go along with me on this.
Sit up straight. I know that it is our natural inclination to slouch and some folks may say that it looks cooler but until you can do this in your sleep you need a dash of ritual and discipline in your practice time. So like I said, sit up straight.
Hold the banjo in your lap with the pot (or resonator) flat against your belly. Not off to the side, not on your knee. Use the banjo strap to support the banjo neck. You want your left (fretting) hand to be available when it is needed and that is going to be a lot sooner than you might think.
Bring the banjo neck up so that the fifth peg is by your ear. If
you were facing a clock you would want the neck at 10 or 11
o'clock.
For now your left hand isn't going to have much to do. Use it to cradle the banjo neck if you want (just remember that you really want to let your strap support the neck.)' Chords come later and then your left hand is going to be very busy.
Hold your right arm out and make a fist. Now stick out your index finger and thumb just like when you were a kid playing cops and robbers. You want that sort of "gun" shape. Do not clench your remaining three fingers to your palm but rather try to relax and keep everything kind of loosey-goosey. Tension just slows things down.
The middle finger should be a hair extended.
Look at your hand. You've got your thumb up, your index finger straight out, your middle finger loosely curled and the last two fingers lightly touching your palm.
Now that you've got your hand into a rough frailing shape drop that whole arrangement of fingers down onto the banjo head.
Put your thumb onto the banjo head so that you are just a little bit shy of touching the rim with the tip of your thumb. The pad of your thumb should be against the fifth string.
Rest your middle fingernail on the first string.
Now take a look at your hand and it's position on the banjo. You will see that you can just raise it up a hair and drop that middle fingernail down to strike the first string.
Do that a few times.
When you strike the first string do not flail around or open and close your hand or flick your fingers. Just use your thumb as a sort of pivot point to rear back (you won't have to go very far) and swing it down to strike the string with your nail. Let the string sort of snap off your middle fingernail.
Once you get comfortable with the idea of just dropping your hand down to strike the first string try the same thing on your second, third and fourth strings.
To hit those inside strings just look at your hand again. Your thumb is resting on the fifth string. If you close the webbing between your index finger and thumb you should see that you are able to position your hand so that it is over the string you want to hit.
We are not talking big motion here. It's just a hair this way and a hair that way. Don't be all stiff and rigid. Relax. Experiment with it for a while. You'll drive everybody in the house nuts but that's why you wanted to play the banjo, right?
After the strike comes the strum.
Strike any string. After you do that close the webbing between your thumb and index finger so that your hand comes back over the strings and your middle fingernail is over the third or fourth string. While all of this is happening keep your thumb in place.
Once you've reared back enough (three strings is a safe bet) strum down across the strings with your middle fingernail.
So it's pick, rear back and strum.
Do that a few times. Get used to it. Keep your thumb in place on the fifth string.
As you pick and as you strum it is a good idea to keep a sort of straight wrist. Your forearm is doing most of the work here using your thumb as a pivot point.
As you complete the strum you will see that your thumb is putting pressure on the fifth string. Snap your thumb off the fifth string with a rolling motion and drop it back in place.
Once your thumb drops back the pick and strum combination repeats. Remember to maintain hand position and to drive your hand across the strings with your forearm.
Do not flick your fingers. Play steady and slow.
A lot of little details of the stroke change from person to person. Our bodies all work in unique ways. I've got a buddy who adds a freaky little wrist flip after each down stroke. He can play very well so I figure there is no real point in asking him about it. It works for him and what I do works for me. How you do the strum isn't as important as playing in rhythm.
Let's give each major part of the frailing strum a label of some sort. We'll call the pick "bump," the strum "dit" and the thumb rolling off the fifth string "ty."
When you practice the basic strum it will help you get into the rhythm if you call out the name for each part of the strum.
On the strike say "bump."
Rear back for the strum, strum down and say "dit." As you are saying "dit" start rolling your thumb off of the fifth string and as the fifth string sounds say "ty."
Because the strum and the thumb happen right after each other we'll write it out as bump dit-ty.
Once you can play that picking pattern fairly well the next thing you want to do is get into the rhythm of the strum. We'll go over the actual note values in a little bit but for right now just try tapping your foot:
So when you tap your foot it's bump (down & up) dit (down) and ty (up) (tap tap-up.) Play that a few times and try to keep everything even. It is going to take some time but you really need to be able to play this at a slow and steady rhythm. If you are constantly speeding up and slowing down it will make playing with other musicians all but impossible. Rhythm is everything. Without rhythm all we have is noise. Just kick back with your banjo for half an hour at a time and play the bump dit-ty rhythm over and over for a few days. Then you want to start working on playing a more varied picking pattern.
Play the first string on the bump until you can do it ten or twenty times in a row without interruption. Then strike the second string. Then try the third and fourth strings.
The bump dit-ty strum has a quarter note and two eighth note value. To get a better understanding of what that means we will take a look at note values.
Do not panic when you see some sheet music in this section. We are not going cover reading music here. We are going to look at how note values are written in order to help you get a grip on the timing of the basic frailing strum.
In this chapter we are going to focus on 4/4 time. Things change a bit for 3/4 time and 6/8 time so we will cover those later.
The note value symbols are written in what is called standard music notation.
Music notation is written on a staff.
It is just five lines. Notes are written on the lines or in the spaces. The funky little squiggle at the beginning of the staff is a G clef. We will address what a G clef represents later on.
When you are writing music in standard notation each group of notes is broken up into a measure.
The time signature signifies the basic count for each measure.
In this case the 4/4 on the staff represents 4/4 time. That means four beats to a measure with the quarter note getting the beat.
A line running down through the staff marks measures. The example above shows four measures. In 4/4 time each measure is going to have four beats.
A beat is the term we use to describe the pulse of the music.
The really amazing thing about music is that those four beats can be broken up in all sorts of ways using whole notes, half notes, quarter notes, eighth notes and sixteenth notes.
A whole note is just that, a note that is counted for the whole value of the measure.
A half note has one half the time value of a whole note.
A quarter note has one half the time value of a half note.
An eighth note has one half the time value of a quarter note.
So when I say that the bump dit-ty strum has a value of one quarter note and two eighth notes it means the rhythm would look like this in standard notation:
Now if the bump has a quarter note value and the dit and ty have eighth note values that means the dit and the ty part of the strum both have to be half as long as the bump. This is because with an eighth note value the dit and ty together equal one quarter note.
Keep that in mind as you practice the basic strum.
And since this is the most important part of playing old time banjo let's go through the strum one more time:
If you have been practicing the basic frailing strum for a while I think it's safe to say that you and any people nearby are sick of hearing that open G chord. So let's give your left hand something to do by making chords.
Look at the back of your banjo neck. Imagine that there is a line running right down the middle of the neck from the headstock to where the neck meets the pot. When you grasp the neck to make a chord you want to put the joint of your thumb along that imaginary line. That will force your fingers to arch a little bit as they press the strings. This ensures that you won't start fretting two strings when you only want to fret one string (you will know what I'm talking about here in a few moments.)
Now with the joint of your thumb on that imaginary line fret (press) the second string at the first fret with your index finger. Keep your finger just behind the fret-wire. It might help if you realize that your finger is not doing anything but pushing the string onto the fret-wire. The fret-wire is higher than the fretboard so when you push the string down it stops vibrating right at the fret. That causes the string vibrations to shorten which results in a higher pitched note.
Strike the second string while fretting it at the first fret and listen. How does it sound? Is it a clear note like it was before you fretted the string? Is your first and third string sounding clear or is the finger on the second string muting them?
Adjust your hand a little bit so that when you fret the second string at the first fret your third and first strings are still clear and you are getting a clear note from the second string.
Once you have that sounding right keep your index finger on the second string first fret and use your middle finger to fret the third string at the second fret.
Strum the chord. Are all the notes clear? Once you get all of the strings sounding clear you have made a D7 chord.
On paper we'll use what's called a chord diagram to illustrate the
chord forms. The box shows the first four strings of your banjo
neck and the first four frets. The strings are numbered 4-3-2-1
(left to right) with 1 being your first string. The dark line on
top represents the nut on your banjo neck. The two "0" symbols on
top of the diagram tell you to play that string open. The black
dots tell you where your fingers go.
You are going to have to work with this D7 chord for a while. Our hands were not in any way, shape or form designed for this so you will have to train your fingers to do the job.
When you are making a chord keep in mind that you don't have to press too hard. A gentle touch will also help you in the speed department later. Light strings and a low action also help here.
Now hold that D7 chord and play the basic bump-dit-ty strum. Once you are comfortable begin frailing the open G to D7 back and forth. That is, a series of bump-dit-ty's in G and D7 over and over again.
When you can do that we will play our first song.
We have covered a lot of ground so far.
Let's start making some music.
Everybody knows the old song "Skip To My Lou." It is a fun song to sing and play on the banjo. The really great thing about "Skip To My Lou" is that you only need to know two chords:
G Lost my partner what'll I do? D7 Lost my partner what'll I do? G Lost my partner what'll I do? D7 G Skip to my Lou my darling.
Now let's go back to our bump dit-ty (quarter note and two eighth notes) rhythm.
In 4/4 time that means two bump dit-ty's to a measure. So two measures would look like this:
Each line of "Skip To My Lou" is two measures long. So we know to play four bump dit-ty's in G, four in D7 and so on.
What we are going to do here is sing and play the song. For now play any string for the bump. After you get more comfortable we'll go into playing the melody. Right now you want to get used to changing chords, playing the bump dit-ty strum and singing at the same time. Just bump dit-ty, bump dit-ty over and over again remembering to change chords at the right time.
Ready? Let's go!
G Lost my partner what'll I do?
B D-T B D-T B D-T B D-T
D7 Lost my partner what'll I do?
B D-T B D-T B D-T B D-T
G Lost my partner what'll I do?
B D-T B D-T B D-T B D-T
D7 G Skip to my Lou my dar- ling.
B D-T B D-T B D-T B D-T
Get that smooth and you can start adding more verses:
Skip, skip. Skip to my Lou. (3x*)
Skip to my Lou my darling.
I'll get another one prettier than you, etc.
Cat's in the cream jar what'll I do, etc.
Flies in the buttermilk shoo fly, shoo, etc.
*3x means sing it three times. I guess you could figure that out on your own,but I once heard a guy sing "THREE X!" at a jam session.
Let's go over what you should know by now.
My advice right now is to reach around and give yourself a nice big pat on the back. To any bozo on the street you are a banjo player. There is a lot more to learn but you have made great progress.
All right, that's enough basking. Back to work.
Make your D7 chord.
If you remember my explanation of how to make a D7 chord your index finger is fretting the second string at the first fret and your middle finger is fretting the third string at the second fret.
What we are going to make now is a partial C chord. It is a partial chord because we won't be fretting or using the fourth string. In fact, you will see an "x" over the fourth string in the chord diagram. We'll go over the "full" C chord later on.
If you look at the C chord diagram and the D7 chord diagram you
will see that all you have to do to switch from D7 to C is move
your middle finger from the third string second fret to the first
string second fret. You can go back and forth from D7 to C without
ever letting go of the second string at the first fret.
Is that cool or what?
What I want you to do now is work on changing from G to D7 to C while playing the bump dit-ty strum. Then work on other combinations like C to D7 to C or G to C to G to D7 until you are comfortable with various combinations.
Now that you are able to combine the C chord with the G and D7 chords we can get started on another song.
Just about everybody has heard the old song "Red River Valley."
While "Skip To My Lou" was a two-chord song "Red River Valley" ups the ante to three chords. We will approach this song pretty much the way we covered "Skip To My Lou." I will mark out the measures, chord changes and the rhythm over the lyrics for you. You can play whatever string you want for the bump in your bump dit-ty. We won't be playing the melody yet. Just remember that a quarter note and two eighth notes equal a bump dit-ty.
There are a couple of pick up notes at the beginning of this song. When you start singing "From this valley they say . . ." do not start playing your bump dit-ty until the word "valley." Note that the last bump dit-ty of the song is actually the pick-up notes for the next verse.
"Red River Valley"
4/4 Time Key of G
G D7 G
From this valley they say you are going we will
G D7
miss your bright eyes and sweet smile for they
G C
say you are taking the sunshine that has
G D7 G
brightened our pathways a while from this. . .
Come and sit by my side, if you love me,
Do not hasten to bid me adieu,
Just remember the Red River Valley,
And the cowboy who loved you so true.
I've been thinking a long time, my darling,
Of the sweet words you never would say,
Now, alas, must my fond hopes all vanish?
For they say you are going away.
Do you think of the valley you're leaving?
Oh how lonely and dreary it will be.
Do you think of the kind hearts you're breaking?
And the pain you are causing to me?
They will bury me where you have wandered,
Near the hills where the daffodils grow,
When you're gone from the red river valley,
For I can't live without you I know.
Get used to the rhythm of this tune. Then experiment with your bump dit-ty's. See if you can find the melody notes on your own. They are all there, right in or near the chord forms. Also try it with "Skip To My Lou." Spend some time with these songs. Get to know them.
Get comfortable with the rhythm and the chords. And don't forget to sing!
Let's go over what you know so far:
You're doing great so let's keep going.
I have added the partial F chord to our C (partial)
and D7 diagrams. Take a look at all three. The F
chord is just a D7 with your ring finger fretting the first
string at the third fret.
Get used to switching from C to F to G and back to F along with your bump dit-ty strum. When you are able to do this smoothly without interruption we can tackle a new song.
"Boil Them Cabbage Down" is a funky little song in C. The lyrics are a hoot and it's a great exercise to get you playing in the key of C.
If you go back and look at "Skip To My Lou" and "Red River Valley" you will notice that I am giving you a little bit less of a walkthrough for each tune.
This time I have marked out the measures in the song lyrics (look for the '|' symbol) and given you the chord progression. By now you should have gotten the idea that in 4/4 time each measure has two bump dit-ty's.
The only thing you want to watch out for with this song is the next to last measure. It has one bump dit-ty for the C chord and one for the G chord.
Play the entire song on the first string and you will be playing the melody. The only exception is that the very last C chord is played on the second string.
Let 'er rip and remember to sing!
"Boil Them Cabbage Down"
4/4 Time Key of C
C F C G Went up on a | mountain | to give my horn a | blow
C F C G C Thought I heard my | true love say | yonder comes my | beau!
Chorus:
Boil them cabbage down, down
Bake some hoecakes brown, brown
The only song that I can sing
Is boil them cabbage down
Someone stole my old coon dog
I wish they'd bring him back
He'd chase the big hogs through the fence
And the little ones through a crack
Possum in a 'simmon tree
Raccoon on the ground
Possum said "you son of a gun
Throw some 'simmons down!"
Once I had an old gray mule
His name was Simon Slick
He'd roll his eyes and back his ears
And how that mule could kick
I have no idea how many other verses are out there but this is one of those songs that you can sing and play all night long.
Once you get used to playing this in the key of C why not work it up in the key of G?
"Boil Them Cabbage Down" in the key of G:
Sorry, but the first string trick won't work for the melody here. Just strum anywhere as you sing. Then have some fun and try to find your melody notes.
"Boil Them Cabbage Down"
4/4 Time Key of G
G C G D7 Went up on a | mountain | to give my horn a | blow
G C G D7 G Thought I heard my | true love say | yonder comes my | beau!
Play this one a couple of hundred times and when you're ready we can start picking a little bit of melody.
Let's go over what you know so far:
We've come a long way. By now you should be comfortable playing the frailing strum while singing and changing chords. The next step is to add a little bit of melody.
In order to illustrate the examples in this chapter I will have to introduce you to something called tablature. Tablature, or 'tab' for short, is just a way of writing a song down.
You have five lines. Each line represents a string on your banjo. The fifth string is at the bottom and the first string is on top.
When any string has a zero you play that string
open. The numbers on a string tells you what fret to play. So in
this example you would play your fifth string at the fifth fret,
your fourth string at the fourth fret, your third string at the
third fret and so on. A series of numbers running one on top of the
other tells you to strum a chord (dit.)
In order to make things easier I will add a rhythm line over some of the tab files in this chapter. A measure of bump dit-ty's in open G looks like this:
And this shows the same measure in C.
Note: The strum (dit) portion of the frailing stroke will usually be made out of a chord form.
Pretty cool isn't it?
So if we go back to "Boil Them Cabbage Down" in the key of C and put it into tab we wind up with this:
"Boil Them Cabbage Down"
4/4 Time Key of C
With the exception of the last measure everything here is pretty much like it was without the tab. You will notice that the chord diagrams show the full C and F chords as opposed to the partial chords you are using now. I'm going to keep showing the full chord diagrams from this point on but I will leave it for you to decide when to start using them. The partial chords will work 99% of the time and it's a heck of a lot easier in the beginning. One thing to remember if you keep using partial chords is that when a song is written out in tab it is just a suggestion. If you see a note that you cannot play comfortably in a tab change it. As long as the rhythm remains constant it will work just fine and dandy.
As we continue playing melody let's take a look at hammer-on's and pull-off's.
As I've been saying over and over again, your basic frailing bump dit-ty strum contains a quarter note and two eighth notes.
This can sound kind of monotonous after a while. So to add a little bit of spice to your banjo stew we can take that quarter note and break it in half. One way to do that is to use the
hammer-on. Rather than go into a long explanation here let's just play a couple.
Strike the open first string and play a bump dit-ty. When you strike that first string drop your middle finger onto the first string at the second fret. The trick here is not to change the rhythm.
Now if you look at the rhythm line you will notice that the quarter note for the bump has become two eighth notes. That's why a hammer-on is so cool. It is coming in and slicing the quarter note into two even pieces
becomes 
A pull-off works under the same idea but in a pull-off you are playing a fretted string and then snapping your finger away from that string.
Both of these techniques change the sound from bump-dit-ty to bump-a-dit-ty but the basic rhythm stays the same.
Let's take a look at what something as simple as a hammer-on can do for a song.
In this clip from "Roving Gambler" the melody is pretty straightforward. The first measure has a bump dit-ty followed by two quarter notes.
In this second clip I changed the two quarter note run into a hammer-on. Because the hammer-on is two eighth notes I had to add a dit-ty strum to even out the measure.
That's the trick. No matter what you do to dress up the measure it still has to come out even. A measure in 4/4 time must have a value equal to four quarter notes.
Since we're talking about the song "Roving Gambler" we might as well play it.
"Roving Gambler"
4/4 Time Key of G
G
I am a roving | gambler I've | gambled all | around
C G
when I see | a deck of cards I | lay my money | down.
As with the songs earlier in the book I have broken Roving Gambler into measures and marked out the chord progression. This is a pretty simple song to bump dit-ty along with because in the first six measures you are just playing your open G chord then one measure of C and one last measure of G.
Once you can sing the verse and play a simple rhythm you can start to experiment with blending the melody into the basic strum. I have tabbed out a simple arrangement that you can use for ideas. Just remember that this is a suggestion. It is up to you to experiment and make the song sound the way that you want it to sound.
"Roving Gambler"
4/4 Time Key of G
I've gambled down in Washington I've gambled over in Spain
I'm on my way to Georgia to knock down my last game.
When I was down in Washington many more weeks than three
I fell in love with a pretty little girl and she fell in love with
me.
The neat thing about frailing a song like "Roving Gambler" is that the melody line sort of floats right along with the rhythm. That is the real magic of old time banjo. It is just as strong playing solo as in a group setting.
But that is not the only thing happening with "Roving Gambler."
If you look at the tab again you will see that even with only a single pull-off you are still getting much of the melody just by changing the string that you use to start the bump dit-ty.
With that idea in mind go back and take another run through "Skip To My Lou" and "Red River Valley." See if you can get a feel for the melody by changing the string that you use to start the bump dit-ty.
Another kind of hammer-on is something I like to call the "phantom" hammer-on. A phantom hammer-on works when you strike one string but hammer-on another string.
Another technique that is related to the pull-off and the hammer-on is the slide.
A slide is when you strike a string and while it's still ringing drag your finger down one, two or more frets.
The trick to a slide is not to release the pressure on the string. Try it and you will see what I mean.
Just like the pull-off and the hammer-on a slide is another way to split a quarter note into two eighth notes.
Now go back and look at "Boil Them Cabbage Down" again. When we played that song we did it as simply as possible by just running the bump dit-ty over and over again. So what would happen if we added a hammer-on or pull-off to emphasize the phrasing of "Boil Them Cabbage Down"?
We can already play the tune straight:
That works just fine but what if you decided to use a hammer-on at the second string, first fret?
Now why not try a pull-off on the first string?
Now, if that works on the first string and the fourth string is tuned to the same note as the first string (D) then you could try something like this:
What can you do with the third string? Would a slide from the third string, second fret to the fourth fret sound good? Keep these thoughts in mind as we start to learn some more songs.
Let's go over what you know at this point.
Now we are going look at some simple tunes to see how everything covered up to now blends together.
"Handsome Molly"
4/4 Time Key of C
While sailing on the ocean, while sailing on the sea
I'd think of Handsome Molly wherever she might be.
She rode to church on Sunday, she passed me on by
I could tell her mind was changing by the roving of her eye.
Don't you remember Molly, when you gave me your right
hand?
You said that if you should marry that I would be the man.
Now you've broke your promise go love whom you please
While my poor heart is breaking you're lying at your ease.
Some performers use the second line of each verse as a chorus when they sing " Handsome Molly." For example, the last verse would have a chorus like: "Lying at your ease, lying at your ease. While my poor heart is breaking you're lying at your ease." You will have to decide for yourself whether or not to use the chorus. There is really no right or wrong way to do it.
When you sit down to work on " Handsome Molly" my advice would be to just play a simple rhythm the first few times through. Once you are comfortable with the chord progression start adding the melody line from the tablature.
I cannot emphasize enough how important it is to sing while you are playing these songs. In order to do that you are going to have to sit up straight while you are playing. You cannot sing while all hunched over looking at your hands.
As a matter of fact you don't want to look at your picking hand at all. Trust me, looking at your picking hand is not going to make you any more accurate. Accuracy isn't the issue here. You are going to make mistakes. Getting all tensed up about it will just set you up to make bigger mistakes on a more regular basis.
You will get some benefit from looking at your fretting (left) hand. The visual input will enhance the development of the "muscle memory" needed to change chords quickly.
When you work on " Handsome Molly" and the other tunes in this book try to relax. If you make a mistake just keep going.
When you sing don't be all tentative and soft or squeaky. Sing! Don't be embarrassed or shy. And don't sing through your nose. Sing from your belly with your diaphragm pushing the air through your voice box.
Keep things at a nice even tempo. Playing fast is a lot of fun but it is easy to loose control. What sounds "just right" to you may sound rushed and muddled to your audience.
The next two songs are " Old Rattler" and " Mountain Dew" in the keys of C and in G. Both of these songs are somewhat similar to "Handsome Molly." The melody line is there but it is the rhythm that makes the song work.
"Old Rattler"
4/4 Time Key of C
Here Rattler here, here Rattler here.
Call old Rattler from the barn here, Rattler here.
Rattler barked the other night I thought he'd treed a
coon.
When I come out to find him he's barkin' at the moon.
Mountain Dew"
4/4 Time Key of G
Chorus:
They call it that good old mountain dew, yes they do!
And them that refuse it are few.
I'll hush up my mug if you fill up my jug
With that good old mountain dew.
Well my uncle Bill has a still on the hill
Where he runs off a gallon or two.
Buzzards in the sky get so drunk they can't fly
From sniffin' that good old mountain dew!
My cousin Nort he is sawed off and short
He stands about four foot two.
But he thinks he's a giant if you give him a pint
Of that good old mountain dew!
Old preacher Brown he did rode into town
Said his wife had a touch of the flu.
He thought that I ought just to sell him a quart
Of that good old mountain dew!
Our next song is " Sugar Hill." It is a pretty easy tune but it has a new chord form for you learn.
Think of the E minor chord as a C chord with the second string open.
Minor chords have a sort of sad sound about them and in some settings they can sound almost menacing. It all depends on how you use the chord. In a song like " Sugar Hill" things lean a bit more to the menacing side.
"Sugar Hill"
4/4 Time Key of G
I'm getting lonesome for my gal. I want a drink of rye.
I'm a-going to Sugar Hill or know the reason why.
Get your banjo off the wall. Grab your fiddle, Bill.
Hitch the horses to the sleigh, we're going to Sugar Hill.
The next song is " Going Down That Road Feeling Bad" This is a genuine classic. Musicians as diverse as Blind Lemon Jefferson, Bruce Springsteen and Woody Guthrie have written their own lyrics for this one. It is one of those songs that everybody seems to know. Best of all it's as easy to play as falling off a log.
"Going Down The Road Feeling Bad"
4/4 Time Key of G
I'm going where the water tastes like wine.
I'm going where the water tastes like wine
I'm going where the water tastes like wine Lord Lord
And I ain't gonna be treated this a way.
I'm going where the weather suits my clothes, etc.
They fed me on cornbread and beans, etc.
By the time you have worked through these five songs you should be able to see that there is a pretty similar picking pattern through each of them. You really are not doing anything all that different from just playing the basic strum as we did for "Skip To My Lou" and "Red River Valley".
Believe it or not, almost everything in old time banjo falls into this pattern. You will change it a little bit here and there. Maybe once in a while instead of playing the bump dit-ty strum you will use a slide, hammer-on or a pull-off to change the rhythm to bump-a dit-ty. Maybe you will play four quarter notes instead of two bump dit-ty strums in order to fill out a measure. Maybe you will leave out part of the strum and just leave an empty spot with the note value of what you would normally play. In the long run no matter what you do it's just a variation of the basic strum.
Pretty wild isn't it?
Let's go through some more songs. The root of all of these tunes will still be the bump dit-ty strum but we will start adding more single note runs, slides and other variations. If you have trouble with a measure just do your basic strum and try it again later.
"Cripple Creek" is one of the songs you almost have to be able to play. It is an old fiddle tune that has become sort of the unofficial anthem for banjo players everywhere. This tune also introduces the basic format that most fiddle tunes follow.
You will see that the verse and the chorus have been labeled A and B. The traditional way to play a song like this is A twice and then B twice. This is not a hard and fast rule. Some fiddle players will break it up as AAB or ABAB. It just depends on how the group you are playing with decides to do it.
"Cripple Creek"
4/4 Time Key of G
*The :|| symbol is a repeat sign.
I've got a gal at the head of the creek
Going up to see her at the end of the week
Chorus
Going up Cripple Creek going in a run
Going up Cripple Creek to have some fun
Girls on Cripple Creek 'bout half grown
Jump on a boy like a dog on a bone
"Little Maggie" is a popular old tune that you will run into at bluegrass jams. This is a good one to practice your slide on. The chord progression is kind of unusual.
"Little Maggie"
4/4 Time Key of G
Over yonder stands little Maggie
With a dram glass in her hand.
She's drinking away her troubles
She's courting another man.
The first time I seen little Maggie
She was sitting by the banks of the sea.
Had a forty-five strapped 'round her shoulder
And a banjo on her knee.
Now she's marching to the station
With a suitcase in her hand.
She's going for to leave me
She is bound for some distant land.
"Wildwood Flower" is a song that you rarely hear anybody sing anymore. The lyrics are a bit cryptic but it has managed to become a favorite country guitar instrumental piece.
"Wildwood Flower"
4/4 Time Key of G
I will twine and will mingle my raven black hair
With the roses so red and the lily so fair
And the myrtle so green with it's emerald hue
The pale emanita and the eyes look so blue.
Like I said, the lyrics are kind of cryptic. I have seen folk singers argue for forty-eight hours straight about the meaning of the lyrics to "Wildwood Flower."
Before you head on to the next chapter spend a good bit of time with these tunes. You want to be able to keep an even rhythm through the entire song. Singing along while you play will go a long way toward making that happen.
Try not to worry about making a mistake and if you do make a mistake keep going. In a band or a performance situation you cannot stop the music and say, "Oops, let me do that again!"
Music is a lot like a river. You have to keep rolling with it. If you pause to think about a note you will spend the rest of the song trying to catch up. Everyone you are playing with will think you are some kind of a dipstick because nothing on earth is quite as hard to listen to as a band with someone playing out of time.
So don't worry about playing the song perfectly. If your rhythm is correct and you are following the chord progression you cannot make a mistake. For the next few weeks you should work on being able to sing and play these songs all the way through without breaking the rhythm. If you hit a wrong string keep going. If you flub a chord keep going. If you forget a part of the song just play your bump dit-ty and follow the chord progression until you remember where to go next.
By now you have been playing the tunes from the last chapter for a while so it's time to start making everything a little bit more polished.
Up to this point you have been working on songs that involve either playing simple rhythm or perhaps an arrangement that has a bit of a melody line. Either will work fine but as you gain better control of your banjo you will want to add some dynamics to your playing.
By dynamics I mean not just playing the same thing over and over again. It is hard to sing and play melody at the same time and it is boring to play straight rhythm without your voice carrying the melody. The answer is to have two versions of the same song. A back up version to use when you are singing and a melody line version for when you want to take a solo or a "break."
One thing to keep in mind is that your banjo does not have to be quite as loud when you are singing as when you are taking a lead break. By that I mean you can begin to lighten up your right hand attack when you are singing. You want to use the banjo to support your voice rather than overpower it.
Now let's create a back up and a lead version for "The Wreck of the Old 97". This classic bluegrass and old-time country tune is also a true story. We met a gentleman from Virginia several years ago who lived between Lynchburg and Danville. He remembered the day that Old 97 went off the track!
The way I usually play this one is to sing a verse / play an instrumental / sing a verse over and over again until the song is finished. In the tab for the break you will run into a new chord.
A D chord is nothing more than your C chord moved down two frets. It looks different at first because your third string is open when you make a C chord but look at it again. I'll explain how this works later.
"The Wreck of the Old 97" Back-up
4/4 Time Key of G
Well he turned and he said to his black & greasy
fireman
"Just shovel on a little more coal,"
and when we cross that White Oak Mountain
you can watch Old 97 roll!"
Break
It's a mighty rough road between Lynchburg and Danville
On a line with a three-mile grade
It was on this grade that he lost his air breaks
You can see what a jump that he made.
Break
He was coming down that grade making ninety miles an hour
When his whistle turned into a scream.
He was found in the wreck with his hand on the throttle
He was scaled to death by the steam.
Break
The telegram came from the Lynchburg station
And this is what is said,
"That daring engineer who ran Old 97
Is lying near Danville dead"
Break
So ladies you must heed my warning
And from this day now on learn
You must never speak harsh words to your true loving husband
He may leave you and never return.
Wreck Of The Old 97
Instrumental Break
There is another kind of break that is used once in a while in old-time banjo, something I like to call the "joke break" or the "story break."
A classic example of this is "Arkansas Traveler." The tune itself is easy enough but what makes this one so much fun is that it is an old comedy routine probably going back to medicine show days.
This song takes two people to make it work so you will have to talk a friend into doing the routine with you. The idea is that one person (the banjo player) is a farmer picking a banjo on his porch by the side of the road. The other character is a traveling salesman who has managed to get lost. As the routine opens up the banjo player runs through this little tune:
"Arkansas Traveler A Part"
4/4 Time Key of G
After you play the A part of the song once through the salesman kicks in with his part of the routine:
Salesman: "Hello there. Say, which road do you take to Nashville?"
Farmer: "I think they've got a road in Nashville already."
Play Tune
Salesman: "I mean can I take this road to Nashville?"
Farmer: "I'd like to see you try. It's awful heavy."
Play Tune
S: "So have you lived here all your life?"
F: "Not yet."
Play Tune
S: "Say, your roof looks like it needs mending. Why don't you fix your roof?"
F: "Can't fix it when it's raining, and when it's not raining it don't leak."
Play Tune
S: "You're not very smart are you?"
F: "Well, I'm not lost."
Play Tune
S: "I mean there's not much between you and a fool is there?"
F: "Just this banjo."
Play Tune
S: "Your corn is growing tall in the field. Do you put manure on your corn?"
F: "No. We use butter like everybody else."
Play Tune
If you are doing this routine with another banjo player you can end it like this:
S: "Say there, why do you keep playing that first half of the tune over and over again?
F: "First half? I've been looking for years hoping that somebody would show me the rest of this song!"
S: "Well let me see that banjo." Plays the B part of the tune:
Arkansas Traveler B Part"
4/4 Time Key of G
Farmer: "Wow! Have you been playing all of your life?"
Salesman: "Not yet . . ."
There are quite a few songs and routines like this. Grandpa Jones and Uncle Dave Macon performed a lot of them at The Grand Old Opry. You can always make one up one of your own. On the old TV show Hee-Haw they used to tell awful jokes between quick versions of "Cripple Creek."
You could rip through "Cripple Creek" and after one time though say:
"Did I ever tell you about my cousin Johnny-Boy? Well, when he was a little kid he would not talk. In fact up until he was eight years old he had never said a word! Then one day he was at the dinner table and he looks up and says; "Hey, These potatoes are cold!"
Well his momma jumped up waving her arms in the air and said, "Praise the Lord! Johnny-Boy, you can talk after all! Now how come you haven't said a word in the past eight years?" Johnny-Boy just shrugged his shoulders and said, "Everything's been all right up 'till now."
And then tear through "Cripple Creek" again.
You might as well start working on entertaining people because once your friends find out that you can play the banjo they will drive you half crazy to play something for them. Like an old burlesque comedian told me years ago "The audience doesn't care how good you play, just how good you make them feel."
By now you should be comfortable with some basic chords:
As you may have noticed you can make a lot of music with this handful of chords but there is plenty more cool stuff on the fretboard. The easiest way to explore all of the chords available on your banjo is to use movable chords.
The easiest movable chord to use is the bar chord. Since your banjo is tuned to an open G chord all you have to do is lay one finger across the fretboard to make a new chord:
And if both of these chords are G7, it's easy to figure out how to make a seventh chord from any of the other bar chords.
You can also use this chord chart as a capo placement guide. By placing the capo at the second fret any song played as you would in the key of G is changed into the key of A. If we go by this chart what key would we wind up playing in if the capo was on the fourth fret?
If you said"B" you got it right.
Just keep in mind that the fifth string will have to be tuned up in order to match the new key. If you capo at the second fret you must tune the fifth string to A. This will match the first string at the fifth fret but now your fifth fret is actually the seventh fret.
Once you start using a capo beyond the fifth fret there is really no need to retune the fifth string because the capo will hit all five strings. Your first string and your fifth string will wind up matching but if you try it you will find that it works reasonably well.
Before we move on to the other movable chord forms let's play a couple of songs that use bar chords.
"Lynchburg Town" was the first tune I ever figured out using a bar chord.
"Lynchburg Town"
4/4 Time Key of C
Going down to town, going down to town.
Going down to Lynchburg town
To lay my tobacco down
"The White House Blues" is fun to play but a lot of people, myself included, have had a heck of time with this one. The jump from the barred C chord to F is tricky but if you walk the chord in (make a D7 first then fret the first string) it's not too bad.
"The White House Blues"
4/4 time, key of C
McKinley hollered McKinley squalled.
Doc said, "McKinley I can't find that ball.
You're bound to die in Buffalo."
Doc came a running pulling off his specs.
Doc said McKinley "You better cash in your checks
you're bound to die in Buffalo."
Look here you rascal see what you done.
You shot my husband with your Iver Johnson gun.
I'm takin' you back to Washington.
Hush now you children don't you fret.
You'll draw a pension at your daddy's death.
From Buffalo to Washington.
Forty four boxcars trimmed in lace.
Put him the last one so we can't see his face.
From Buffalo to Washington.
Before we continue I think I should point out a really neat thing about this song. "The White House Blues" is about the assassination of President McKinley at the Pan American exposition. The melody for the song was taken from another topical song about the McKinley administration called "The Battleship Maine" that dealt with our brief war with Spain after the Maine was destroyed either by accident or on purpose. "The Battleship Maine" is a great song in it's own right and is a lot of fun to play before or after its younger brother "The White House Blues." It is also an interesting example of the folk process at work.
"The Battleship Maine"
McKinley called for volunteers so I got my gun.
First Spaniard I saw coming I dropped my gun and run.
It was all about that Battleship Maine.
Why are you running are you afraid to die?
The reason that I'm running is because I cannot fly.
It was all about that Battleship Maine.
The peas they were greasy the meat it was all fat.
The boys were fighting Spaniards while I was fighting that.
It was all about that Battleship Maine.
The next song we are going look at is an old fiddle tune called "Ragtime Annie." In the first three measures all you have to do is hold your C chord and hammer-on the third string at the second fret. The rest of the song is pretty self-explanatory. I usually play this one AABB just like we did with "Cripple Creek." There are no words to this tune that I know of.
"Ragtime Annie"
4/4 Time Key of G
Another exercise to help you get used to working with bar chords is to practice moving a lick up and down the fretboard.
This little lick is really a piece of the G scale. I usually play the notes in the first two measures as quarter notes and use a whole note in the third measure. The lick is easy to remember if you think of it as a takeoff of your D7 chord.
Now we are going to make a bar chord across the first fret (an Ab chord) and play the same lick that we used in the first example.
Move up the neck one fret to an A chord at the second fret.
Try doing this over and over again all the way to the twelfth fret (where you will wind up playing the lick in G again) and then work your way back towards the nut.
Make up some licks of your own with this exercise.
Before you move on to the next chapter try the songs we have covered up to this point with a capo. You might also want to try experimenting with playing a few simple tunes like "Boil Them Cabbage Down" just using your bar chords. You can start out with open G and use the C chord at the fifth fret and the D chord at the seventh fret as in this example:
"Boil Them Cabbage Down"
4/4 Time Key of G
Or use the G chord at the twelfth fret:
"Boil Them Cabbage Down"
4/4 Time Key of G
To play this song in C using bar chords just start with the C chord on the fifth fret and slide down to the F chord at the tenth fret. I will give you the first couple of measures to get started. You can finish working out an arrangement on your own:
"Boil Them Cabbage Down"
4/4 Time Key of C
If you want to try something really different you can stop by your local guitar shop and pick up a slide or a bottleneck. Slides and bottlenecks come in a wide variety of shapes and sizes but they all work under the principal of using a piece of metal or glass on your finger to do the fretting. If you do try a guitar slide keep in mind that you do not push the slide down on the fretboard. Just let the slide lightly touch the strings directly over the fret. It's a lot of fun and you can get some crazy sounds. Try it!
You don't even have to buy a slide. You can get pretty much the
same effect with a pocketknife or a cigarette lighter. The late,
great electric guitar player Danny Gatton was known to play slide
solos with a pizza crust that he would snatch from a table in the
audience! Use your imagination but be at least a little cautious
not to damage your banjo. I don't want to get any calls from repair
shops complaining about trying to get pepperoni grease out of a
fretboard.
The C position is another movable chord form. We've been using the C chord quite a bit throughout this book and in the last chapter I introduced you to the D chord.
The interesting thing about a D chord is that it is just the C chord moved up the neck two frets. The reason it looks different at first glance is that in your C chord the third string is open but it is fretted at the second fret in the D chord. The reason that happens is simply because you ran out of fretboard at the nut. Let's move that C chord around a little and see what we get:
Your capo can come into play here as well. As we said before if you capo at the second fret anything that you play in G winds up in A. Well that also means anything you play in C winds up in D. Try it.
Now, if you use a capo at the fourth fret and play in C what key would you wind up in?
If you said the key of E give yourself a cigar.
One really odd thing about the F position is that the first chord in the F position is actually an E chord.
This is, hopefully, a clue as to how a capo works with a chord position. We started exporting that idea in the last chapter and if you peek ahead and look at "Flop Eared Mule" you might get some more ideas about how you can mix your basic chord forms with the G, C and F position chords when you start playing up the neck.
Here is your F position chord chart:
In order to get comfortable playing in the C and F positions anywhere on the fretboard you can try playing combinations of C and F position chords up and down the neck.
In this example we are just using the C and F chords that you already know. We are not playing a bump dit-ty here. We are picking three single notes and a strum with each part of the measure having a quarter note value (4/4 time.)
In this example we have moved both chord positions up the neck one fret. Our C chord becomes a Db and our F chord becomes a Gb.
Keep moving this exercise up the neck to the twelfth fret and then work your way back towards the nut.
Minor chords also have several movable forms.
You can use the previous chord charts to find where these minor chord forms can be used.
Before you move on to the next chapter you may want to experiment with mixing up your G, C, F and minor position chords.
Soon we will be talking about playing within a "box" on the fretboard. A little advance work here will pay off later.
In this example we are using the same picking pattern as in earlier examples but we are adding three other chord positions into the mix.
Just like the earlier exercise we are moving everything up the neck one fret each time through. Try this one up to the twelfth and drag it back towards the nut.
Everything up to this point has been played in 4/4 time. Now we are going to take a look at the other major time signature used in old time banjo.
3/4 is also referred to as waltz time. As you already know, 4/4 time is four beats to the measure with the quarter note getting the beat.
3/4 time is three beats to the measure with the quarter note getting the beat.
What this means is that the bump dit-ty (1 2&) becomes bump ditty-ditty (1 2& 3&)
The hardest part of frailing in 3/4 time is getting the feel of the strum. You have spent so much time getting the bump dit-ty down cold that changing it into bump ditty-ditty (a quarter note and four eighth notes) can feel a little awkward at first. Stick with it and take it slow. You will be waltzing along in no time.
We'll go through "Who's Gonna Shoe Your Pretty Little Foot" nice and easy. Play it just like your other basic tunes. Hit any string and play the basic strum (in this case bump ditty-ditty.)
"Who's Gonna Shoe Your Pretty Little
Foot"
3/4 Time Key of G
G Who's gonna | shoe your | pretty little | foot? bump ditty-ditty bump ditty-ditty bump dtty-ditty bump ditty-ditty 1 2& 3& 1 2& 3& 1 2& 3& 1 2& 3&
C G Who's gonna | glove your | hand? | bump ditty-ditty bump ditty-ditty bump dtty-ditty bump ditty-ditty 1 2& 3& 1 2& 3& 1 2& 3& 1 2& 3&
C G Who's gonna | kiss your | red ruby | lips? bump ditty-ditty bump ditty-ditty bump dtty-ditty bump ditty-ditty 1 2& 3& 1 2& 3& 1 2& 3& 1 2& 3&
D7 G Who's gonna | be your | man? | bump ditty-ditty bump ditty-ditty bump dtty-ditty bump ditty-ditty 1 2& 3& 1 2& 3& 1 2& 3& 1 2& 3&
Momma will glove my hand.
Sister will kiss my red ruby lips
I don't need no man.
I don't need no man poor boy
I don't need no man.
Poppa will shoe my pretty little foot
I don't need no man
The longest train I ever did see
Was sixteen coaches long.
The only girl I ever did love
Was on that train and gone.
Once you get past the awkward feeling of the new picking pattern 3/4 time shouldn't give you too much trouble.
Lets run through a few more tunes while looking at how the melody notes fit into the strum.
Now that you are comfortable playing bump ditty-ditty in 3/4 time try this arrangement of "Who's Gonna Shoe Your Pretty Little Foot."
"Who's Gonna Shoe Your Pretty Little
Foot"
3/4 Time Key of G
As you can see there is not a whole lot going one here but the melody is still coming out clearly over the rhythm.
Just as in 4/4 time the real trick here is simplicity. The melody line never gets so complicated that you have difficulty keeping the rhythm smooth and steady.
Take a look at the next song "In The Pines." The structure of this tune is very close to "Who's Gonna Shoe Your Pretty Little Foot" You are playing a 3/4 time G, C and D7 chord progression in both songs but they sound very different from one another.
"In the Pines"
3/4 Time Key of G
Little girl, little girl don't lie to me
Where did you sleep last night?
In the pines, in the pines
Where the sun never shines
And I shivered the whole night through.
"Farther Along"
3/4 Time Key of G
Tempted and tried, we're oft made to wonder
Why should it be thus all the day long
While there are others living about us
Never molested, though in the wrong
Chorus:
Farther along we'll know all about it.
Farther along we'll understand why.
Cheer up my brothers live in the sunshine.
We'll understand it all by and by.
"Rosin The Beau"
3/4 Time Key of G
"Rosin The Beau" is another one of those tunes with more than one set of lyrics. The song was most likely played as an Irish air a long time ago. The first set of lyrics might not have been written until the late 1700's or the early 1800's.
"Rosin The Beau"
I've traveled this world all over
And now to another I go,
And I know that good quarters are waiting
For to welcome old Rosin the Beau.
To welcome old Rosin the Beau
To welcome old Rosin the Beau
I know that good quarters are waiting
For to welcome old Rosin the Beau.
When I'm dead and laid out on the counter,
A voice you will hear from below,
Saying send down a hogshead of whisky
To drink with old Rosin the Beau.
To drink with old Rosin the Beau
To drink with old Rosin the Beau
Saying send down a hogshead of whisky
To drink with old Rosin the Beau.
When Abraham Lincoln was running for president somebody wrote new words and used the melody to come up with a campaign song.
"Lincoln And Liberty"
Hurrah for the choice of the nation
Our chieftain so brave and so true
We'll go for the great reformation
For Lincoln and Liberty too!
We'll go for the son of Kentucky
The hero of Hoosierdom, too!
The pride of the "Suckers" so lucky
For Lincoln and Liberty too!
There are a few other songs that use the melody from "Rosin The Beau." I hardly ever sing any of them because to me, this is probably the prettiest banjo instrumental I have ever run across.
Another little piece of right hand trickery is a technique called the double thumb.
Just like a hammer-on or a pull-off the double thumb is used to cut the time value of a note in half but the application is different. You see, sometimes you are going to run into a lick that needs a little bit of spicing up and a hammer-on or a pull-off just won't feel right. "
For instance, this single note run is made up of quarter notes. It sounds fine and it will work in most situations, but it doesn't feel fast.
By thumbing the fifth string after each single note the quarter notes are cut in half so you wind up playing a string of eighth notes. The time value stays the same but it feels a lot faster.
The timing for this can be tricky at first. Give yourself some time to practice.
Used with some taste this is probably one of the most powerful techniques in the old time banjo players' bag of tricks.
Double thumbing can turn the simplest lick or run into a showstopper. Not because this is hard or super complex but because it fools the listeners ear into thinking that there a lot of stuff going on. You may just be playing a note and following it up with the fifth string but it sounds so fast that everything sort of blurs together and your audience will think that you are doing something really complicated.
A good way to build up your understanding of when to use double thumbing might be to look at how a flatpicking guitarist plays a solo. Part of the speed in flatpicking comes from the ability to pick up and down very fast on a string. In frailing we are only working with a down stroke. Doubling each single note with the fifth string creates the illusion of that flatpicking effect.
You can use the double thumb anywhere that you have a single note or a run of single notes. Double thumbing can also be used to add an accent note.
Here are a couple of licks that you can use to practice your double thumb technique.
This first lick is one I used to play over and over again when I was working on my double thumb technique. I would walk up and down my driveway for hours running this lick. I just about drove my neighbors crazy.
Working the double thumb on the fourth string can feel a little bit awkward at first because you are dealing with such a small space. Get this lick clean at a super slow pace and then start speeding it up.
This lick will help you get used to walking the double thumb across the strings.
Another interesting