Learn Clawhammer Banjo

Banjo Lessons for the Adult Beginner

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Syncopated Skips – A Video Tutorial

I’m a great big fan of syncopation in music. It’s a major part of traditional American music, including Appalachian old-time, and I love adding it into my playing.

One of my favorite techniques for adding syncopation utilizes “skip notes”, usually in combination with a dropped thumb to create what I refer to as a “syncopated skip” note (you’ll see “skip” notes indicated in my tabs by a shaded box or an “X”).

I cover syncopation in depth as part of the Breakthrough Banjo course, however, I’ve received so much interest in this technique from folks that I thought I’d make the video on “syncopated skips” available to everyone. So, without further ado, here’s the video:

Syncopated Skips

Picking Exercises from the Video

Screenshot 2015-05-06 14.18.32
Screenshot 2015-05-06 14.18.45
If you’d like all the exercises as a PDF, click the link below:

Syncopated Skip Exercises

 


 

Clawhammer Tune and Tab of the Week: “The Ballad of Jed Clampett”

Click here to subscribe to the tune of the week (if you’re not already a subscriber) and get a new tune every Friday, plus tabs to all the ones to date.
 

The number of tunes that the average US citizen recognizes on the banjo can be counted on one hand.

And chances are, if you find yourself playing your 5 string in public and a random passerby musters the courage to make a request, chances are it’ll be one of those tunes.

Said passerby won’t care that all of those tunes were originally played 3-finger style and not clawhammer, nor will they likely be interested in you enlightening them as to the stylistic differences between the two. You, sir, have a banjo in your hands, and are expected to know banjo songs.

The Ballad of Jed Clampett, a.k.a the theme song to the Beverly Hillbillies TV show, is one of those songs (for those unfamiliar with it, The Beverly Hillbillies was a TV show that aired on American TV from 1962-1971. It was about a poor mountain family who strike it rich by finding oil on their property, and naturally end up moving to Beverly Hills, California to be amongst fell rich folk. Clashing of cultures and hilarity ensues.).

So for this week’s tune, I’ve taken this popular Scruggs classic and adapted it for clawhammer banjo.

Love em or hate em, these iconic banjo songs are virtually guaranteed to bring smiles to people’s faces. So if evoking smiles is something you enjoy, I think it’s worth knowing em.

The Ballad of Jed Clampett

gDGBD tuning, Brainjo level 3-4

Screen Shot 2015-04-17 at 5.39.31 PM

Notes on the tab

Skip Notes: The notes denoted as a shaded box are “skip” notes, meaning they’re not actually sounded by the picking finger. Instead, you continue the clawhammer motion with your picking hand, but “skip” playing the note by not striking it (this is a technique used to add space and syncopation). The fret number you see in the shaded box is the suggested note to play should you elect to strike the string.

Addendum

By request, here’s the bluegrassy tag lick I play at the end:

Screenshot 2015-04-21 14.20.45

 

Back to the Tune of the Week Playlist

About the Author
Josh Turknett is founder and lead brain hacker at Brainjo Productions

Clawhammer Core Repertoire Series: “Fortune”

Season 2: Solo Clawhammer Classics

Episode 4: “Fortune”


As I mentioned in the introduction to season two of the Clawhammer Core Repertoire Series, this season is all about classic solo clawhammer tunes. Not surprisingly, many of these classics also happen to be my personal favorites.

And “Fortune” is no exception.

In fact, it just might be my “desert island tune.” In other words, if I were forced to play one tune for the rest of my days, it just might be this one. And it’s one that once I get started playing, I find a hard time stopping. My wife can verify this.

I hope you have the same experience.

 

Step 1:  Know thy Melody

According to the cardinal rule of tune learning, we must first ensure that said learning is irrevocably imprinted into our sonical memories before proceeding with the business of playing it.

So, first take a listen to my final arrangement played in the video above. After that, take a listen to the version on fiddle linked below by Tommy Jarrell. Fortune is one of those iconic tunes from the Round Peak tradition, so who better to listen to for inspiration than Mr. Round Peak himself.

Fortune by Tommy.mp3

Step 2:  Find the Melody Notes

After you’ve listened enough times for sonical imprintation, now it’s time to find those melody notes on the banjo.

Fortune is traditionally played in the key of D, so get thy banjo to double D tuning, aka aDADE, and then see if you can find the essence of this tune on your banjo. We’re just looking for the basic notes right now, so hold the bum ditties for later.

https://corerepertoire.s3-us-west-2.amazonaws.com/fortunemelody.mp3

And here’s how that looks in tab:

Step 3 – Add Some Clawhammery Stuff

Now, full clawhammerization may commence. Let’s take that basic melody above, add in a “ditty” stroke after our basic melody notes, throw in a few syncopated embellishments with the odd pull off and hammer on, and we get something that sounds like this:

https://corerepertoire.s3-us-west-2.amazonaws.com/fortunebasicclaw.mp3

Nothing too fancy here, but it sounds mighty fine already. Here’s what that version looks like in tab:

Step 4: Embellish to Taste

At this point, see what else you can do with this tune. Play it whatever way suits your ears best. In my version from the video above, I’ve added a few more fretting hand embellishments, as well as the occasional drop thumb. Notice also that I like to move the melody lower in measure 14 for a little change of pace.

Notes on the tab: Drop thumbs are noted with a “T” underneath the tab. Notes with a shaded box around them are “skip” notes, in which you move as if you are going to strike the string with your picking finger, but don’t actually do so (i.e. you “skip” over the note).

Also, feel free to sing a verse or two. There are several floating around in the old timeyverse, including those I sing in the video.

Go to the Core Repertoire Series Table of Contents

 

The Immutable Laws of Brainjo: The Art and Science of Effective Practice (Episode 4)

Episode 4: Failure Is Not An Option

 

Skating Lessons

Recently, I’ve been going to the ice skating rink a good bit with my family, as my daughter is taking lessons. And while I do enjoy the actual skating part, perhaps my favorite thing to do while I’m there is watch the new skaters.

I live in Georgia, which means each trip almost guarantees there will be a new crop of folks hitting the ice. For me, they provide another fascinating window into the learning process. What I’ve found particularly enlightening has been the contrast between the kids and the adults who take to the ice for the first time.

The typical new adult skater enters the rink by gingerly placing a foot on the ice, simultaneously maintaining a death grip on the rink wall. This is often accompanied by a face of intense concern, or perhaps blind terror.

On the other hand, a typical new child skater, especially the youngest ones, enters the rink by charging onto the ice with wild abandon. About three or four steps later, they’re face first on the ice.

This behavior typically continues until the end of the session. The newbie adult clinging fast to the wall, baby-stepping their way around the oval with one primary goal in mind: not falling. Usually they succeed. Or they might fall to the ice once, call it a day, and retire to the spectator’s bench.

The newbie child continues to try skating as fast as his or her legs will go, falling countless times, all the while smiling and giggling from ear to ear.

By the end of the first hour, guess who’s become the better skater?

I’ll tell you: it’s not even close.

Learning Machines

This contrast between the adult and child learner plays out in virtually any domain. When presented with a new task, each will typically adopt very different approaches. The child will usually explore freely and fearlessly. Give me that and let me figure out how it works!

An adult, on the other hand, will often approach a new endeavor with caution and trepidation. I best be careful, lest I screw up and break something. 

Perhaps nowhere is this disparity more apparent than with new technologies: my son had figured out how to turn my iPhone on and order apps from the app store by the age of two, for example (which is common for kids nowadays).

On the other hand, it took a to-remain-nameless adult member of my extended family years to even conquer her fear of smartphone technology enough to even attempt to use one, and she still requires extensive coaching on its basic functions.

The adult is afraid to make a mistake.

The child seeks them out. 

If we broaden our perspective, these differences aren’t all that surprising. The human brain doesn’t fully mature until around age 21, an eternity compared to the rest of the animal kingdom.

And the reason we have such a long childhood is so that we can grow really large brains. Brains that are customized to the particular environment we inhabit. Brains that will support the full range of cognitive and motor skills that comprise a fully functioning, independent, adult human in that environment.

In other words, the entire purpose of our childhood, from the brain’s point of view, is to learn. Children, particularly those of the hominid variety, are born masters of the learning process because Mother Nature has designed it this way.

But here’s the challenge: our brain’s must possess neural networks that are suited to a particular environment, but it can’t create those networks until it knows what that environment looks like. Our brain has solved this challenge by becoming a general purpose learning machine, one that can change itself in response to the demands placed on it.

For example, every infant brain starts out primed and ready to begin learning a language of some sort. Yet, it won’t know until the first adults around it start talking whether that language is Spanish or Swahili.

Furthermore, creating these customized neural networks from scratch requires feedback. Lots and lots of feedback. Feedback that says “you’re on the right track”, and feedback that says “this still needs work.” And this network building process is iterative: the brain creates a bit of the network, tests it out, then refines it based on the results.

 

A Matter of Mindset

So much of our success or failure in learning anything new, whether it’s ice skating or banjo picking, hinges on the mindset we approach it with. That voice inside our heads, the one that likes to judge everything we do, can be our ally or enemy. And nowhere can this voice be more to our detriment than when it comes to the necessity of failure.

Those newbie kids at the skating rink, the ones falling all over themselves, they have the right mindset. They instinctively know that, in order to grow, they have to fail. The faster the better. Falling to the ice isn’t interpreted as a personal failing, but as priceless feedback.

The geniuses at Pixar studios have been able to consistently produce some of the most enduring movies of their generation by following the guiding principle to “fail fast and fail often”. They too know that the faster they “fail”, the faster they grow.

Whether we’re looking to master the art of skating, animating, or banjo-ing, the next law of Brainjo is essential for getting us there:

Brainjo Law #6: There is no failure, only feedback.

Go To Episode 5: How Much Should You Practice?

Back to the “Laws of Brainjo” Table of Contents

 


About the Author
Dr. Josh Turknett is the creator of the Brainjo Method, the first music teaching system to incorporate the science of learning and neuroplasticity and specifically target the adult learner

Clawhammer Tune and Tab of the Week: “Rock the Cradle, Joe”

Click here to subscribe to the tune of the week (if you’re not already a subscriber) and get a new tune every Friday, plus tabs to all the ones to date.


I like to sing. In fact, one of the reasons I first decided to dabble in clawhammer banjo years ago was because I thought it was so well suited for vocal accompaniment.

Little did I know at the time of the rabbit hole I was about to fall into.

And one of the great joys of the gourd banjo, which sounds its best tuned about half an octave or so lower than it’s modern, steel strung counterparts, is that it allows me to take tunes that aren’t well suited to my post-pubescent vocal register in their typical key and render them singable again.

Rock the Cradle, Joe has always been one of my favorite tunes to play. But being able to sing along just takes the joy up even one more notch. Thank you, gourd banjo.

Rock the Cradle, Joe

aDADE tuning, Brainjo level 3-4

 

Screen Shot 2015-04-10 at 6.34.49 PM

About the Author
Josh Turknett is founder and lead brain hacker at Brainjo Productions

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