What if we awarded belts for banjo playing like they do in martial arts?

Posted on February 22, 2009 by Phill Gibson

What banjo belt would you be?

I’ve taken several different forms of martial arts, including Ju-Jitsu, Karate and Tae-Kwon-Do; each one seems to have different belt systems, but they all seem to start at white and go to black, at which point you are truly ready to learn, as opposed to our western concept of that’s when we have ‘arrived’. After black, some continue on to red and maybe even back to white again.

Let’s use the belt system from Tae-Kwon-Do, just because it was the first one I found on Google. I should also use what I’m most familiar with; three-finger bluegrass styles.

Hmmm… let’s see… for us, white could be anyone who’s just starting. White signifies innocence.

Next is yellow, for the Earth. Maybe someone who has learned the three basic rolls and is starting to learn their first song.

Orange represents a change, as in Autumn. One song is under the student’s belt. Speed picks up a little on the basic rolls; maybe they can pick 6 notes per second (NPS, I’ll call it).

Green Stands for growth. The student has become fairly comfortable with slides, pull-offs, hammer-ons. They can play two songs now at 7 NPS. Timing and rhythm may still need some work, especially when playing with others.

Blue is for the sky. They can keep up with Earl Scruggs on Cripple Creek at 8 NPS! That can certainly make you feel great.

Purple represents another period of change. Students feel more freedom and interest in what they are learning and the direction their musical education is going. A certain confidence is about them and they can play 4 or 5 songs now, at least. They realize how certain songs can be easily adapted into other songs to quickly increase their repertoire. Perhaps at this level they realize how much they have left to learn.

Brown represents a ripening process. Having increased speed to maybe 10 NPS, they aren’t as concerned with speed now (a good thing!) and are more naturally attuned with striving for quality. Left-hand technique are clean and crisp. They are able to hit just the right emphasis with any finger of the right hand. They have maybe a dozen tunes they can play at any time and are well aware of what direction they want to go with their music. Perhaps they have started to branch out into melodics and single-string styles some.

Red is for blood or danger and is a warning to the student to temper their skills with wisdom and control. Sounds like some a banjo player might need, huh? They are quite comfortable playing with other musicians and can create their own versions of songs from recordings. Perhaps they have started to experiment with songs of their own!

Then, there is first degree black belt. The black belt represents dignity and, as mentioned earlier, is when a student really begins learning in earnest! Not so much additions to their list of techniques will get a student here, as will their mindset and musical taste. Of course, they must be first-rate players with a firm grasp on technique, but they also know what to do individually in order to achieve the desired overall musical effect. They back-up effectively, have solid timing, know how to give and take with musicians of greater and lesser skill levels, they don’t go off the deep end just because they can, and they know how to recover quickly from the inevitable live glitches.

Second degree black belt – they display steadfast humility and are excellent teachers. Did I hear someone say ‘Ouch!’?

Belts continue after this, with third degree black, etc. What would be a good test? I’m not quite sure; maybe I’ll think up something clever and write about it one day – let me know if you have any suggestions, also!

Posted in Philosophical Ramblings | 2 Comments

A few notes on my own practice – Improvising

Posted on February 12, 2009 by Phill Gibson

I’ve been so busy at work these past few weeks I’ve only just gotten caught up with things here at home! I’ve got a lot of banjo topics to blog on – I just need the time to sit down and write them.

 One thing I’ve been meaning to blog is what I’m currently doing with my own practice time. A lot of my practice these days concerns trying to improve my ability to get out of tight spots while improvising. Sooner or later, we will all have been there. I’m thinking mostly of the times when I know the chords fairly well already, but in the process of placing various improvised rolls and licks, I get lost. 

Maybe I’ve simply gotten my synchronization off by one or two notes. That’s more noticeable if I’m playing melodic than Scruggs style by it’s very nature. Or maybe I’ve missed the chord change because of concentrating too much on my left hand technique. Most often however, it’s due to getting my picking fingers, that is, my right hand technique, into a logistical logjam. It’s like when you have just picked down on the fifth string with your thumb and then realize too late: “hey, I needed that thumb to pick the next note, but now I can’t get it there fast enough!” 

Here’s a couple of things to remember with regard to improvising (for me to remember, also!)

1) A lot of this is simply expected territory as we practice improvising. It does get better with practice, which should come as no surprise. Practice (perfect practice, no less) sure seems to be the solution to just about everything, huh?

 2) Don’t think of this as a final cut. If need be, slow down and analyze the lick and your roll pattern. for that matter, let’s take a lesson from jazz, where improvising is the name of the game; live cuts are highly valued and readily accepted at face value. To that extent, improvisation is a true reflection of you as a player and as a person. Kind of scary, I know – all the more reason to practice!

 3) If it’s a lick you already know and use, then take the lesson you’ve just learned: licks and rolls don’t exist alone, but must be played in transition from one to the other. That means that some licks are going to be problematic in transition without an extra tweak of some sort. For instance, if you are playing a lick that ends with your index finger picking the 2nd string, and the next lick, perhaps well-known to you already, has always been played starting with the index finger on the 3rd string, then something’s got to give. In such a situation, I’ve not been able to look so far ahead that I can solve it on the fly. But the next time around, I’ll try to remember those two licks and what happens when they are used back-to-back. Maybe I’ll employ the thumb for the second initial note, although I’ll then need to adjust the next few notes to accomodate that change. If it seems the least bit difficult, then I’ll just mentally think of this as a new lick.

4) Build up a repertiore of available licks in different keys. A couple of books that I’ve found of great help here are Hot Licks for Bluegrass Banjoby Tony Trischka  and Hot Licks and Fiddle Tunes for the Bluegrass Banjo Player by Bill Knopf.

Part of the fun of trying new things, especially “real-time” is when you get it right. It’s certainly a challenge, so don’t expect perfection early on. But remember – good things do come to those who practice!

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A Bit of Banjo History – Part 1

Posted on February 8, 2009 by Phill Gibson

What do you think of when you imagine a banjo? If you’re like most folks, you usually see a picture of a 5-string banjo being played by a white southern man, perhaps in a rural mountain setting or at a bluegrass festival. The banjo-trained ear will also notice the tuning: GDGBD (the usual G tuning), and the banjo is set up to be loud and clear, not deep and mellow.

That’s the current take on the banjo, but we would be amiss to neglect the multitude of other styles, many of which others will think of before the above scenario: Dixieland Jazz, Clawhammer in all its wonderful varieties, Irish folk tunes, classical renditions, etc. But beyond one of these styles, the general population hasn’t gone much farther in thought. Jobs beckon, dinner must be prepared, lawns mowed. Musical history, especially that of a banjo, is easily forgotten.

It seems the banjo has always represented something a bit different from what is currently considered mainstream. Back when it was first introduced to America, it came over (either physically or, more likely, in the minds of its makers) as the primary instrument of African slaves. Necessity is the mother of invention, as the saying goes, and these early American banjos were hobbled together using what was available. Catskin stretched over a hollowed-out gourd, with a suitable wooden neck and gut strings – this is the usual description of a banjo from this time period. If you find these really old-style banjos fascinating, as I do, check out David G. Hyatt’s ‘The Art of GOurd BanjO Construction’ and Jubilee Gourd Banjo. For more links, just google ‘gourd banjos’.

And what did the people of that time think about banjos? Of course you can never lump all of society into one or even two or three viewpoints, but some generalities can be stated. After about 1810, banjos were well-known enough to no longer need a description when writing about them. Starting with  an initial use strictly by slaves, it wasn’t long before traveling minstrel bands, the popular yet low-brow form of entertainment in those days, had included them. You’ll notice that neither of these groups were considered ‘the way to be’ by middle and upper class society.

A curious thing happened next that, upon closer examination, reveals much about how society to this day categorizes the banjo. By about 1890 or 1900, much of society was moving away from Victorian ideals of behavior. Although this ‘official’ culture was still in place, the more sentimental notions of people held sway in ordinary life. As a show of moving from this Victorian lifestyle (the ‘official’ view), upper class ladies began taking up the banjo. So much so, that for the age, the banjo was seen largely as a feminine instrument. If you ever look at newspapers and magazine from 1890 to 1910, you’ll frequently see women playing the banjo. What this teaches us about the long-term view of banjos is that they have always represented, and probably always will represent, an alternative view. Not the ‘official’ view of corporate and industrial endeavors, but rather the idea of a more relaxed and down-home lifestyle.

The southern black slave was still identified with the banjo at this time, although this began to fade, and was more and more replaced with the idea of young white people as banjoists, both ladies of culture as well as young college men.

Ironically, my own chores beckon now. More later!

Posted in History | 2 Comments

A few notes on my own practice – Reno Style

Posted on February 2, 2009 by Phill Gibson

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

Posted in Reno & Single-String Style, Tips & Techniques | Leave a comment

Banjos are Like a '64 Valiant

Posted on January 25, 2009 by Phill Gibson

Someone I read recently said banjos are the hot-rods of the musical world, and I agree. What other instrument can you laterally take apart and put back together again yourself?

I remember my neighbor on Green Mountain brought his ’64 Valiant over for us to see one day. This was maybe in the late 1980s, when a Valiant was an interesting thing to see. He popped the hood. My first reaction was:

 “Where’s the engine?…”
“Oh, there it is, over in the back left corner!”

Back then you see, cars were a lot simpler than today. You didn’t need all the room that was under the hood. And you could work on the car yourself; add freon, check belts and filters with ease, etc.

So it is with the banjo. You can do-it-yourself: change the drum head, try out a new tone ring, put on a more massive tailpiece… so many options to get so many different sound tweaks!

One tweak I have made to my Stelling Red Fox is to change the bridge. I have a moon bridge from Elderly and it works great. After I first put it on, I must admit it sounded dreadful and I though I would have to replace it, but I gave it just a day or two and it sounds fine once again.

The reason I went with a moon bridge in the first place was because, being curved, it compensates for a not-so-minor annoyance I find in several (most?) banjos; that of not being able to get the second string to be in tune with all other strings, whether open or in a chord. The moon bridge has solved this problem admirably, and I would recommend it if you’re constantly tweaking that second string.

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Being a Well-Rounded Banjo Player

Posted on January 13, 2009 by Phill Gibson

Have you even had someone make a request for a certain song, and they weren’t quite sure how it went (sort of like that line from Billy Joel’s ‘The Piano Man’), but from their description, you strongly suspect they have in mind a frailed banjo? Maybe it was ‘Some of Shelly’s Blues’ by the Nitty Gritty Dirt Band; remember how that starts off with a great scene-setting ol-timey banjo intro? What do you do when someone makes a request such as that?

That’s a great reason to be well-rounded, isn’t it? Just take off the picks and do it! I believe that even though we each have our main areas of proficiency on banjos, we should learn at least a few basics across the board. Here’s a start at a list in no particular order (can you tell I’m an inverterate list-maker?).

See if you can think of others for a ‘ What every banjo player should know how to do’ list. It’s admittedly slanted towards what a 5-string bluegrass banjoist should do, as that’s where I’m coming from.

1. The basic frailing or clawhammer rhythm

2. A melodic scale. Maybe G, or C.

3. A song or two (or at least a few chords) on the Tenor or Plectrum banjo.

4. G, C, D on the guitar and how to backup someone else.

5. A jig, reel or hornpipe.

6. Any other suggestions?

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On Becoming a Banjo Player

Posted on January 5, 2009 by Phill Gibson

Thinking back to my preschool days, I realize that I had always been fascinated with banjos. They seemed such odd instruments; half drum and half guitar. And that sound! I will always remember my first introduction to this unusual instrument; sneaking into my oldest brother’s room in the quiet and stillness of the mid-day while all five of my siblings were at school, just to slowly and deliberately strum my finger across the strings of his C-tuned banjo that was bought with S&H green stamps. That was such a captivating and perfect sound as I had never heard before, nor since! (If you’re reading this Mike, sorry for sneaking into your room. I never mentioned it before now, but I think it was well worth letting a small boy see that old banjo!)

I remember well when I became a banjo player. It happened unexpectedly and took all of maybe 2 minutes. I was sitting in chapel at 10 o’clock one morning at Freed-Hardeman College as a sophomore college student. After the devotional part that day, Pickin’ Apples was playing, with Tim Alexander from Memphis on the banjo. They played “Flint Hill Special”. As I watched, I knew that I was pretty much destined to play one of those contraptions. I also knew that I would be doing however much practicing it took to get there!

By the time 3 or 4 weeks had passed after hearing Tim Alexander that day, I had somehow managed to buy a beginners banjo. By then school was out for the summer and I went back home to Huntsville for a break from school, but not from practicing the banjo. I played about 6 or 8 hours a day (I surely must have driven everyone crazy, but no one complained!). My goals that summer were 1) to complete Earl Scruggs’ book on playing the banjo, 2) to learn my first song, “Cripple Creek”, and 3) learn “Foggy Mountain Breakdown” and be able to keep up with Earl Scruggs as he played it on the record. I needed some way to measure how fast I was going, so I came up with a simple system. I would play the standard alternating thumb roll, which is four notes, and count how many of these rolls I could complete in ten seconds. I would multiply this times 4 (4 notes per second) and divide by 10 (10 seconds) to give me the number of notes per second I was playing. After about 3 months of practice, I was playing about 12 or 13 notes per second very clearly. Earl recorded Foggy Mountain Breakdown at about 12 notes per second. I felt like I had arrived.

With 30 years of banjo experience behind me now, I see that merely getting up to speed was just the first basic step, with the more difficult tasks of actually making music that was appealing still before me. At the time though, I didn’t realize that, and a lot of my playing was way too fast and a bit off the deep end, as I was quite fond of chromatic and melodic blues licks. Too much spice and not enough meat. But it was really inspiring to learn scales and licks from books by such players as Tony Trischka and Peter Wernick, and to dissect songs and chord progressions from LPs. I must have worn the grooves out listening to Eric Weissberg and Steve Mandell’s “Dueling Banjos” LP.

Back at school, I know I must have surprised a lot of my friends; I had left not being able to play anything and came back in the fall being able to keep up, even with the fast songs!

So what, exactly, did I do those three months to learn to play the banjo? I’ll blog on that soon.

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Banjo Lessons to Start September 6

Posted on August 10, 2007 by Phill Gibson

After informal teaching on and off for the past 30 years, I’m going to start ‘officially’ teaching on Thursday, September 6, 2007. Teaching and learning seem to fit my personality well, and I can think of few things more enjoyable than banjos!

If you’re interested, or know someone who is interested in learning how to play the banjo in the Huntsville / North Alabama area, then contact me at Phill@PhillGibson.com and I’ll send you all the details!

Of course, learning to play one is only part of the fun. Some banjoists collect banjos, or banjo-related items, or tablature, maybe. Personally, I’m also very keen on the history and social context that surrounds the banjo, and the various people and personalities you encounter along a most delightful journey.

Posted in Beginning Banjo, Teaching | Leave a comment