Phill Gibson on Banjos and Bluegrass

Intro | Background | Observations | Benefits & Challenges | Getting Started | More Getting Started | Applying it to a Song

Finally, here’s a concrete example of how I’m approaching the whole four-finger banjo process.

This is a four-finger version of ‘Buffalo Gals’ using a few four-finger licks. It done in TablEdit. To actually hear about what it sounds like in real life, I like to increase the speed in TablEdit to about 160 – 200%. To do this in TablEdit, go to the MIDI menu and click ‘Relative Speed’ and move the horizontal slider in the upper left from 100% to a higher speed.

Act now, and you’ll also receive a recently-created single string break I’ve done for Buffalo Gals! Also done in TablEdit.

Don’t forget to remember to have fun with this new style, and if you decide to pursue it, do let me know how it’s going!

Since returning from NashCamp a few weeks ago, I’ve been more diligent with two things. One, I’ve been more structured in my practice, allotting about one third of my time to each of three categories: playing songs I already know, learning new material and techniques and working on trouble spots and other such things that require greater than usual detail.

Secondly, I’ve been practicing single string style more. That’s because I’ve been more inspired by it since getting one especially helpful tip from Bill Evans while at NashCamp; be sure to adjust you right hand up and down as you move from string to string. That, along with picking a bit more lightly, has made a surprising difference in the clarity and quality of my single string playing. By keeping your exact same hand position in relation to each string, you’ll have much better control and minimize mistakes such as accidentally picking the adjacent string.

With this new technique, I’ve been able to increase my speed on single string licks by roughly 20%. That’s a pretty big leap! And a quick one as well.

As a related item, I see this also works with certain more difficult melodic techniques that have been giving me consistent problems in times past. For instance, one tune I like to play is ‘Orange Blossom Special’ a la Carl Jackson. Part of the chorus, though, has always been tough to pull of at greater speeds. Using this movement of the right hand as the strings change underneath has helped increase my speed on this as well. I see here that it’s the same issue as with increasing speed with single string.

Thanks for the helpful hint, Bill!

I’ve not written on my own progress with Reno style lately and I should.

I found a nice series of informative articles on playing Reno style in Banjo Newsletter by Jason Skinner, the last of which just completed in the May, 2009 issue. For one thing, I’ve always used the terms ’Reno style’ and ‘Single String’ interchangably, which isn’t as precise as it should be. Of course, Don Reno played single string style, but he also did so many other interesting techniques that went beyond simply playing two or more fingers on the same string sequentially.

As I’ve mentioned before, starting to learn single string style means having to start all over again; at least it did for me. I started playing at about 4 notes per second. I’m up to about 8 notes per second now if I’m really warmed up. That’s almost as fast as Earl Scruggs playing ‘Cripple Creek’ on the Flatt & Scruggs Carnegie Hall recording. But it’s still a good deal slower than a lot of recordings I’ve heard of single string playing. I wonder how Eddie Adcock and Don Reno were able to go so fast!

I know – it’s the very same thing I tell my Scruggs and melodic style students: practice!

One variation I need to explore is using all three fingers on a single string. Rather than going TITITI, try TITMTITM on the same string. That introduces an extra finger into the process and, I suspect, will increase speed as well. But it’s starting all over again, once again.

Nevermind – it will be an interesting experiment, and well worth it to gain some new right (and left) -hand skills.

Besides, playing three fingers on the same string isn’t unheard of; think about Irish fiddle music. Often, you’ll hear a triplet being played on the same string. To do this requires all three fingers.

Love unrequited – that’s what Reno style banjo playing is to me. You see, I love that rapid staccato barrage of notes flowing from a banjo picked in Reno, or single-string style. Few sounds produced on a banjo can match the feeling of power and precision as what Don Reno introduced. I believe it was not long after Earl Scruggs took the stage at the Grand Ol Opry in late 1945 and introduced to the world what has become known as Scruggs style, that Don introduced the style that now bears his name. Both styles are simply amazing in their own way.

But I’m afraid Reno style doesn’t like me. I’ll admit I don’t have the same amount of time to master new techniques as when I was young. Nevertheless, I do put in a good bit of effort. But still, single-string playing at a good clip continues to elude me! Now, I do like a good challenge when it comes to banjos, though, so maybe it’s time to get a book or two specifically on Reno style.

Here’s a couple that I’ve thought look good. I’ll probably get one or two instructional items soon.

Bluegrass Banjo Don Reno Style by Don Wayne Reno (Yes, he’s Don’s Son).

Another good source for Reno style DVD lessons is Jason Skinner’s site at http://www.skinnerfamilyband.com