Posts Tagged ‘Banjos’
A Bit of Bluegrass Trivia
Can you recall the controversial cinema to debut in 1972? If you guessed “Deliverance,” then your memory serves you correct. Directed by John Boorman, this film debuted the first recording of dueling banjos, or what is commonly referred to as ‘feuding banjos’ or ‘the battle of the banjos.’ The musicians behind this magic were Don Wayne Reno and Arthur Smith.
Prior to this blockbuster, both parts were played with banjos at the same speed for the entirety of the tune. But since this bluegrass banjo duet came to life in “Deliverance,” most modern-age bluegrass bands mimic the song in the key of G. However, in the movie both the guitarist and banjo players have capos on the second fret, denoting that it’s in the key of A. Maybe it’s about time to relive the bluegrass glory debuted in this movie with an at-home screening of “Deliverance.”
Pete Seeger once said that “all songwriters are links in a chain,” and his body of work defends that statement. Known as a legendary folk singer, Seeger turned to roots music and storytelling tradition as sources for inspiration. He helped bring classic American spirituals back into the public consciousness during the 1960s. Along with fellow folk musician Joan Baez, Seeger ushered in an era of musical activism by reviving “We Shall Overcome.”
Seeger’s statement suggests an understanding and appreciation of musical history. Listeners can hear evidence of his dramatic influence on the radio today. Baby boomer troubadours like Joni Mitchell and Bruce Springsteen continued in Seeger’s songwriting tradition by penning tales of the less fortunate. Songwriting tips can’t be etched in stone because each artist taps into creativity in his or her own way. Take a lesson from Pete Seeger, however, and you won’t go far wrong.
One thing you will find that is popular in the Irish capital is traditional folk music. By going around the streets of Dublin like the Whelan’s in Camden Street, you will surely find traditional and folk music. This is one exciting spot has the best of Ireland’s talented folk performers.
A vast array of instruments are utilized in Irish folk music; and while fiddles and flutes are the first that come to mind, the banjo and guitar are now commonly used as well. Some famous Irish bands who have been very successful in taking traditional Irish folk music to the world are the Clancy brothers, The Dubliners and The Chieftans, Tommy Makem and Altan. These bands were even given tribute by the Irish post office by means of coming up with stamps of these iconic bands. Because of the distinct and mesmerizing sound of traditional Irish folk music, The Chieftans music, as well as The Dubliners’ and Clancy Brothers’ has been very popular all over the world.
Before the computer age, upstart songwriters had it tough. Options for laying their music down on tape were extremely limited. They had to scrimp and save just to afford some studio time to lay down a few tracks. Alternatively, they could utilize a four-track recorder to capture their work in grainy low fidelity. The rise of songwriting software programs has turned that entire paradigm on its ear.
These days, songwriters can record professional-quality material from the comfort of their own home. But recording isn’t quite the right word. They can tweak their sonic creations to a tremendous degree, making them sound as sparse or layered as desired. Such software programs make the life of a struggling musician a bit easier; the only thing they can’t do is guarantee a big record deal. And although some people enjoy the sterile sound of these recordings, many people still desire the raw nature of Deering banjos and traditional folk and bluegrass tunes.
When my youngest son endeavored to learn the banjo last year, I honestly knew nothing about the instrument. After going to a local music shop, I decided that purchasing the various components individually would be much too costly and time consuming. After doing some research online, I found a site that carried comprehensive banjo starter packs.
Not only did they come with a quality banjo, but the packs also included a case, strap, beginner’s books and picks. When my son got the package, he was overwhelmed and quickly began learning the instrument.. Although the music was atrocious at first, he rapidly developed his skill and can now play several classic tunes.
Few people have left as indelible of a mark on their craft as Earl Scruggs. The three-finger playing style was in use before Scruggs, but he is the one who perfected the art and made it the predominant style in bluegrass music. Today the style is referred to as “Scruggs style,” as homage to its originator.
Although many people are unfamiliar with Scruggs’ music, his influence is widespread. Over the course of his career, Scruggs has earned to Grammy Awards, most recently in 2002. He also earned the Lifetime Achievement Award at the 2008 Grammy ceremonies.
Many people—myself included—think of the banjo as being a traditional instrument that has seen little modification over the years. Just as with guitars, there are several different options for the number of strings that are on your instrument, but this is usually where the deviation in banjo designs ceases. While it is true that the basic design has changed little in recent decades, there have been significant advances in banjo technology.
One of the most revolutionary renovations has been the advent of the electric banjo. These models may feature a slightly more modern design, but, obviously, the main development is the addition of electricity to amplify the sound. This allows you to get the power of an electric guitar while preserving the distinct banjo sound.
There are lots of banjo-player jokes. One goes “You can drop a shoe on the banjo and make music,” due to the “open G” tuning that is standard among bluegrass banjoists. Unlike a guitar or mandolin, which must be fretted to make a proper chord, merely strumming the open strings of a banjo (or dropping a shoe on it) will produce a G major chord. This tuning of D-B-G-D-g (from first to fifth string) provides two G notes an octave apart, two D notes an octave apart, and one B note, thus filling in the three notes of a G major triad. While the vast majority of bluegrass banjo work is performed with this tuning, alternate tunings are sometimes employed. The “drop C” tuning of D-B-G-C-g was considered the standard tuning in the classical banjo era around 1900 and is sometimes used by bluegrass players to provide a low root note when playing in the C position. Bluegrass banjo standards traditionally performed in C tuning include Home Sweet Home and Farewell Blues as recorded by Earl Scruggs.
The next most-common tuning for bluegrass banjo is open D, either D-A-F#-D-F# or D-A-F#-D-a (the fifth string can either be tuned down one fret from G to provide the third note of the D major triad, or tuned up two frets to provide the fifth note). Reuben and John Henry are traditionally played in this tuning, and Ron Block has used it to great advantage in his work with Alison Krauss and Union Station. Rare alternate tunings include G minor (D-Bb-G-D-g) as used by Ben Eldridge in his original instrumental Appalachian Rain recorded with The Seldom Scene, and D minor (aDFAD) as featured by Earl Scruggs in Nashville Blues.
The world of old-time clawhammer banjo makes use of a much greater variety of tunings including “double C” (D-C-D-Cg) and open C (E-C-D-C-g), to name just two. . . but that’s a subject for another post!
Earl Scruggs learned to play the 5-string banjo on an instrument that belonged to his older brother Junie. The banjo did not always stay in tune well, and the young virtuoso found himself having to retune mid-song. Scruggs’s musical inventiveness took it from there, and he soon adapted that mid-song tuning sound into his developing style. After recording his first tuner instrumental Earl’s Breakdown in 1951, Scruggs decided a little mechanical help would make playing a lot easier. He installed a pair of cams onto his banjo peghead that raised and lowered the second and third strings to preset pitches. The most common settings are for the second string to lower from B to A and the third string to lower from G to F#, moving the banjo from G tuning to D tuning and giving the devices the common name “D-tuners”.
Scruggs’s new innovation was soon featured in such instrumentals as Flint Hill Special, Foggy Mountain Chimes, and Randy Lynn Rag. D-tuners soon became required equipment for any aspiring bluegrass banjoist. Melodic banjo pioneer Bill Keith took things the next step with a design that incorporated conventional second- and third-string tuners and the stop-setting mechanism in one unit, making it no longer necessary to drill extra holes in the peghead. Keith tuners became the standard in the banjo world with over 30,000 sold to date and are still manufactured by Bill Keith in Woodstock, New York. Players seeking the unique feel and sound of traditional cam-type tuners now have another option available in a new product called Cheat-A-Keys, which use the cam mechanism but are easily interchangeable between banjos and don’t require alteration of the peghead.
As the parent of a beginning banjo player, I have to try especially hard not to seem overbearing. After all, I started playing the instrument when I was precisely my son’s age, and it’s tempting to help him avoid making all the same mistakes I made. But I’ve found through experience that harping on him to practice will only serve to drive him away from the banjo – something he loves for now.
I’ve also learned that it’s important to allow the child to deviate from his practice routine every now and then. At least once a week I encourage my son to throw out everything he’s learned about tenor banjos for a solid half-hour. During that time, I tell him to try whatever improvisational technique he wants. The way I see it, the best banjo players broke the rules and created their own unique style.