Calluses Work in a Guitarist’s Favor
When kids pick up a guitar for the first time, the learning curve can be rather steep. Once children learn a basic song or two on the instrument, they are generally well on their way to a lifelong love of playing. Early on, though, before they can grasp such techniques as stringing chords together in sequence, playing the guitar can feel like work. This perception is only magnified by the development of calluses.
Before the fingers grow accustomed to pressing guitar strings tight to the fretboard, they are susceptible to some minor pain. It’s important for parents to emphasize the value of developing calluses as they will make playing a classical guitar much simpler and more enjoyable. In time, a young guitarist’s fingers will begin to look and feel like that of a manual laborer. That’s how you know you’re on the right track.
Until a few years ago, I had always associated the ukulele with traditional Hawaiian music – and for good reason. The instrument is actually a minor variation on stringed lutes that were played in Europe for centuries. Eventually, some Portuguese immigrants introduced that lute to natives of Hawaii, and the craze spread throughout the islands. Now I have a much more sophisticated view of the instrument’s potential, however, after hearing the song “Postcards from Italy” by Beirut.
The song is sung as a lamentation for lost people and places, and it perfectly utilizes the ukulele’s versatility. It can be used to strum mournful lullabies or uplifting chants. Baritone ukuleles feature an entirely unique tone, especially those made from the wood of Hawaiian koa trees. In recent years, the electric ukulele has become almost as popular as its acoustic counterpart.
Gibson’s now-legendary Mastertone banjo line was introduced in 1925 and quickly became an industry standard, but by the late 1930s the banjo had fallen in popularity. Anxious to kick-start flagging sales, Gibson announced a new product that fixed an old problem. The new “top-tension” Mastertone design, introduced in 1937, was intended to make life easier for banjoists contending with the fickle calfskin heads. Calfskin heads were the standard before World War II (Remo Belli would later develop mylar heads) and calfskin needed frequent attention. Changes in the climate, especially in levels of humidity, dramatically changed the tension on a calfskin head and changed the banjo sound. Retensioning the calfskin head was common, and by moving the tension hook adjustment to the front (or top) without removing the resonator, Gibson made the tensioning process much easier.
While they were at it, Gibson introduced other changes such as carved solid-wood resonators, radiused fingerboards, and bold Art Deco cosmetics. Most important to modern players, flathead tone rings were also standard on the top-tension models. The three new top-tension Mastertone styles 7, 12, and 18 were, according to company literature, the “alarm clock” that was going to “wake up new possibilities in banjo playing”. The banjo’s time as America’s favorite fretted instrument had passed, however, and the top-tension line faded away when Gibson suspended banjo production during World War II.
The top-tension banjo had no real champions among the first generation of bluegrass banjo players (although Don Reno did occasionally use a style 18), but as the decades passed, Gibson’s prediction of top-tension-fueled banjo innovation seemed accurate, though delayed. A young Bill Keith used a converted TB-12 for his groundbreaking performances and recordings in the new melodic style when he joined Bill Monroe’s Blue Grass Boys in the 1960s. A Style 18 has been in Bela Fleck’s arsenal since the 1980s, and a Style 7 is the favored banjo of Noam Pikelny of Punch Brothers fame. Although Gibson top-tensions are once again out of production following a revival in the 1990s and early 2000s, the banner has been taken up by other companies including Ome, one of whose top-tension models has found favor with virtuoso Matt Menefee of Cadillac Sky.
While electric guitar may be at the forefront of most mainstream music today, many artists will still occasionally go back to the classic acoustic guitar. There is still a love for acoustic music in the mainstream, and there are efforts to assure that the tradition doesn’t die. Although MTV has done a lot to “kill the radio star,” their popular series Unplugged has helped revive the mainstream appreciation of acoustic music.
In the last few years there has been an increase of bands exclusively performing acoustic music. Sub Pop Records is home to some of the most notable of these bands, including Fleet Foxes and Iron & Wine. The Seattle radio station KNDD features a full three hour radio show each week devoted exclusively to acoustic mainstream music.
This is the first in a mini-series devoted to parts and setup of a modern five-string bluegrass banjo. In this post, we define the major assemblies of the banjo and each component within those assemblies. In future posts we will expand on each of these and on the role each part plays in the setup process.
Pot Assembly:
- Rim – a hoop made of wood or metal that all other parts attach to. Three-ply maple is preferred on high-end banjos.
- Tone Ring – usually constructed of metal, preferably bell-bronze; this part rests on top of the rim and amplifies string vibration.
- Flange – usually constructed of metal (brass or pot metal); this part surrounds the rim and serves as the bottom support for tensioning the head as well as for attachment of the resonator.
- Coordinating Rods – these metal rods span from the bottom to the top of the rim and serve to attach the neck to the pot assembly.
- Head – originally made of calf skin, modern heads are made of mylar. This sits on top of the tone ring and serves as the soundboard of the banjo.
- Tension Hoop – usually made of metal, this sits on top of the head and evenly distributes tension to the head when tightened properly.
- Bracket Hooks – these are individual hooks that span the space between the tension hoop and the flange. These are used to adjust head tension.
- Tailpiece – located at the end of the banjo, on the pot assembly; this serves as a place to attach strings and is adjusted for down pressure on the bridge.
- Bridge – usually made of maple with an ebony top; the main purpose is to transfer string vibration to the head. It also holds the strings in place and can be moved to adjust intonation.
Resonator:
- Usually made of wood; the resonator is a bowl-shaped device that attaches to the back side of the banjo and projects sound forward.
- Wall Lugs – made of metal; these attach to the inside wall of the resonator and serve as a nut to receive the resonator thumb screws
- L-Bracket – these are actually L-shaped metal brackets that are mounted under the flange and attached to the rim. This is the attachment hardware that holds the resonator to the pot assembly.
- Resonator Thumb Screws – made of metal; these pass through the flange and L-bracket to secure the pot assembly to the resonator.
Neck:
- The neck and resonator are usually made from the same type of wood. The neck serves as a playing surface.
- Lag Bolts – these are threaded into the wooden heel of the neck, pass through the rim and connect to the coordinating rods that attach the neck to the pot assembly.
- Truss Rod – this is built into the interior of the neck, spanning the length of the neck and located in a routed channel under the fretboard. The truss rod applies pressure to counteract the pull of the strings.
- Fingerboard – a piece of wood laminted to the front of the neck that holds the frets and decorative inlay. This is the part of the neck that is in contact with the fingertips of the fretting hand.
- Frets – these are the metal bars typically made of nickel-silver and inlaid crossways into the fingerboard. They serve to stop the vibration of the string at the desired note.
- Nut – usually made of bone (plastic on entry-level banjos). This separates the strings a specific width and holds the strings a specific height above the fingerboard.
- Peghead – often shaped like a fiddle body; located at the opposite end of the neck from the pot, the peghead is a part of the neck and serves as a place to mount tuning pegs.
- Tuning pegs – usually geared, tuning pegs serve to tighten the strings to pitch. Guitar-style tuning pegs have tuning knobs on the sides of the peghead, and planetary tuning pegs go straight out the back.
- Inlay – decorative designs typically cut from mother-of-pearl or abalone which ornament the peghead and fingerboard and serve as position markers.
- Binding – decorative strips, usually of plastic, running along the sides of the neck and resonator.
For many years I have used the term bluegrass to describe music when I really didn’t know what the exact definition was. Bluegrass originated during the 1940’s in the US and is actually of sub-genre of country music. Many countries have influenced the bluegrass sound, including places as diverse as Ireland and West Africa.
Bluegrass has a distinct string sound, as its most common instruments are the fiddle, banjo, mandolin and acoustic guitar. During the music, each instrument will take a term improvising or soloing while the others play the accompaniment. While bluegrass may not have a large mainstream following today, many of the world’s biggest bands will dabble in the genre. The most notable recent addition to mainstream bluegrass was with the soundtrack to the Coen Brothers movie Brother Where Art Thou.
Considered one of the pioneers in bluegrass banjo picking, J.D. Crowe first came to prominence as a member of Jimmy Martin’s Sunny Mountain Boys. His personal twist on the three-finger style of Earl Scruggs during the 1950s helped define the traditional bluegrass canon on over thirty recordings with Martin. The 1960s saw the formation of Crowe’s own band, The Kentucky Mountain Boys (with whom Doyle Lawson made his recording debut); by the early 1970s The Kentucky Mountain Boys had morphed into The New South and with a stellar lineup including Tony Rice, Ricky Skaggs, and Jerry Douglas. Crowe artfully blended traditional bluegrass with material from such diverse sources as Fats Domino, Gordon Lightfoot, and Gram Parsons.
Born in Lexington, Kentucky on August 27, 1937, Crowe began picking the banjo at age 13. He continues to tour and record to this day with the current edition of The New South. His contribution to bluegrass music has been recognized by Gibson Musical Instruments with a signature-model Gibson banjo, the “Black Jack”, named after one of his original banjo tunes. Crowe also has his own model of the increasingly popular Blue Chip thumbpick, and has left his mark on the world of banjo bridges with his preferred slightly-wider string spacing, now known as “Crowe spacing” and offered as an option by most bridge makers.
That’s a frequent question, and not one with a single answer since the banjo is actually a family of instruments. The five-string banjo was the original, featuring a gourd body (later modified into a drum) and a short drone string. It was brought to what is now the United States by African slaves. The finger-picked five-string banjo enjoyed immense popularity in the nineteenth century, finding acceptance in the parlors of the urban middle class. It was used to play material from the classical repertoire, and rural musicians of the southeast adapted it to the Irish-style music they enjoyed.
Shortly after the turn of the century, the prominence of new music forms such as ragtime and syncopated dances, like the tango, led to the creation of the four-string , or plectrum, banjo. The sharp, percussive sound of the instrument was preserved but the quirky short drone string was eliminated. That made the instrument more user-friendly for musicians who preferred to strum chords with a flat pick, or plectrum. The next step was the tenor banjo, with a shorter scale and tuned in fifths to make it more familiar to players of other popular instruments such as the mandolin. Banjo bands were all the rage by the 1920s and other variations included the mandolin-banjo, the guitar-banjo, and the uke-banjo, but the tenor banjo was by far the most popular, leaving its original five-string cousin to be regarded as a quaint relic. Four-string banjos remain popular in traditional Dixieland jazz as well as Irish music, but the five-string was revived in the years following World War II with the arrival of Earl Scruggs and a new musical style-bluegrass.
There are two distinct types of dulcimers in existence, but only one of them has a distinctly American history and sound. The hammered dulcimer is popular in many corners of the world including China, Southwest Asia and Central Europe. It’s seen somewhat of a revival in the domestic folk music scene in recent years. Unlike its worldly counterpart, the Appalachian dulcimer played a large part in the development of American roots music.
The instrument is picked in the manner of a guitar rather than hit with metal mallets like a hammered dulcimer. There may be as many as 12 dulcimer strings on a given instrument, and they are played in a variety of manners. Most players lay the dulcimer flat on their lap or place them on a table. One hand takes care of the fretwork while the other stays occupied with strumming.