Learn Clawhammer Banjo

Banjo Lessons for the Adult Beginner

  • About
    • Getting Started With Clawhammer Banjo – What You Need To Know
    • What is the Brainjo Method?
    • How To Play Clawhammer Banjo in 8 Essential Steps (free course)
  • Tabs
    • THE VAULT: The Ultimate Clawhammer TAB LIBRARY
      • The Vault Login
    • Clawhammer Tune and Tab of the Week
    • This Week’s SONG and TAB
    • The Clawhammer TOP 10 tunes
    • This Week’s TUNE and TAB
    • 9 Ways to Practice Smarter (FREE book)
  • Banjos!
    • The “BANJO PLAYER’S BANJO”
    • Brainjo SHIRTS!
  • Breakthrough Banjo
    • Login to Course
    • Breakthrough Banjo Course Tour
    • About the Course
    • SIGN UP
    • Course Home

Clawhammer Tune of the Week: “Durang’s Hornpipe”

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.
Last week we borrowed a tune from the minstrel banjo tradition. A jig, to be precise.

This week’s tune, while not technically a minstrel number, is of similar historical pedigree. Durang’s Hornpipe was first composed in the 18th century by Mr. Hoffmaster, a German violin teacher, for the famous hornpipe dancer John Durang.

What’s a hornpipe dance? Good question. Though we’ll never know the moves Mr. Durang became famous for, I imagine it looked something like this.

Fast forward 200+ years, and the tune is still going strong. That’s because it’s awesome.

I’ve tabbed out both my main and optional “up the neck” variation (for the A part) below. The up the neck variation is a little trickier, hence the higher Brainjo level rating.

Durang’s Hornpipe

aDADE tuning, Brainjo level 3

Screen Shot 2015-05-22 at 7.37.59 AM

 

A part “up the neck” variation

Brainjo level 4

Screen Shot 2015-05-22 at 7.38.16 AM

Screen Shot 2015-05-22 at 7.38.25 AM

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

The Immutable Laws of Brainjo: The Art and Science of Effective Practice (Episode 5)

The Laws of Brainjo, Episode 5

How Much Should You Practice?

 

If you hang out around banjo forums for long, you’ll notice certain commonly recurring topics:

“What’s the best banjo under X amount of dollars?”

“Can I play Scruggs style without fingerpicks?”

“How much do you practice each day?”

Years ago when I first took up the banjo, I’d find those conversations about practice time a bit demoralizing.

Tales of daily marathon sessions of 8-10 hours were commonplace. Anything less than 4 and you best not speak up for fear of public shaming.

I was in my first year of medical residency when I got my first banjo, when 90 hour work weeks were the norm. In those days, I was thrilled if I could squeeze in 15-30 mins of picking time in a day. Was I deluding myself by thinking I could become a banjo player with such comparatively little time to devote to it?

Needless to say, not only did I become very interested in methods that would maximize practice efficiency at that point, but I also became intensely concerned with the question of how much practice was truly enough.

We seem to have a natural tendency to believe that if a little of something is a good thing, a lot is even greater, even if our experience tells us that more is often not better.

So what then of practice? How much is enough? And is there such a thing as too much?

The Minimum Effective Dose

First, let’s clarify precisely the question we’re asking, which is how much practice time is necessary to get results? In other words, what amount of time is required to make sure that the next time we pick up our banjo, we’re a better player?

Remember, the goal of each practice session is not to get better right then and there, as getting better requires structural and physiological changes in the brain that take time – changes that are set in motion during practice, but that continue long after we’ve set our banjos down (much of it while we sleep).

With this in mind, our question then becomes, what’s the minimum amount of time needed to signal our brain to change?

Necessary Conditions

As stated above, to learn anything, the brain must literally remodel itself to build novel neural circuitry that supports the new skill or technique we’re learning.

Yet, we don’t have unlimited space or energy to work with. Our brain is relatively fixed in size, and building new brain stuff requires precious energy stores. To operate successfully within these constraints, our brain must be selective about when it changes, and when it doesn’t.

To illustrate, think back to February 9th of this year. Do you remember what you had for breakfast, lunch, and dinner? Do you remember who all you spoke with that day, and the contents of those conversations? The emails you sent? The websites you visited?

Me neither!

You don’t remember those things because your brain didn’t deem them worthy of long term storage. They weren’t worth spending valuable space and energy on. I think you’ll probably agree that your brain made a good decision. Whether it was eggs, toast, or a pop tart on February 9th, who really cares?

And how exactly did your brain decide not to encode those things into long term storage?

Because you didn’t pay much attention to them.

Every minute of every day, our brain is busy sifting through an incomprehensible amount of sensory data. Most of it is discarded as irrelevant, not worthy of the resources required to store them for a later day.

But what of the stuff that is worthy and relevant? How does the brain know to keep that for later?

By only storing the things you were paying close attention to.

Attention is the means by which we tag the events of the day to signal our brain that we might need them again later, cueing the brain to then rewire itself towards that end. There’s a large body of research on this issue, and the results are solid: without attention, memories aren’t formed and skills aren’t learned.

But the type of sustained and focused attention we’re talking about here isn’t easy, and it isn’t something most folks can carry on for too long in one stretch. At least not before the mind tires and begins to wander. And once the mind wanders, further efforts are wasted.

So what’s the typical amount of time a person can maintain this level of focus? About 20 to 25 minutes.

Brainjo Law #7: When practicing something new, practice until your attention starts to fade. For most, this will be 20 to 25 minutes.
So, if our practice sessions are best divided into 20 minutes bursts, the next question, then, is whether this is enough time to trigger the brain to remodel itself in the service of our desired skill. Stated another way, how much is enough time to induce neuroplasticity?

Until recently, we were left to only make an educated guess about this question. But thanks to recent technological advances, we now have the tools to assess when the brain has remodeled itself through practice, enabling researchers to target questions of this nature more precisely.

Using those tools, it’s been shown that 25 to 30 minutes of focused practice time is enough to produce the structural changes in the brain that support skill acquisition.

Putting all this together, we can reasonably conclude that, when learning something new, about 20 to 25 minutes of focused practice is sufficient for achieving our goal, which is to ensure that the next time we sit down to play the banjo, we’re a better player.

Furthermore, given what we know of the limits of human attention, and given that there’s a limit to how much the brain can change in a day, the practice curve is likely U shaped, like this:

practicetimegraph

After a certain amount of time, we face diminishing returns, as our attention wanes and we run the risk of spinning our wheels. This goes on too long and we start to compromise the quality of our inputs. We can take a break and return later, of course, but at some point we come up against the limits of neuroplasticity.

So, should your predicament be as mine was many years ago, when the demands of work and family left little time for banjo plucking, don’t despair. Take heart, and keep mind this next law of Brainjo:

Brainjo Law #8: When practicing new skills on the banjo, quality beats quantity. Twenty to thirty minutes of focused, distraction-free practice is sufficient to ensure consistent progress.

Episode 6: When 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: “Callowhill Jig”

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.


Before there was Madonna, or Lady Gaga.

Before there was Page, Hendrix, and Clapton.

Before there was Elvis, or the Beatles.

Long before any of these icons of music riffed their way into our collective consciousness, there were the minstrel banjoists.

With names like Emmett, Briggs, and Buckley, the minstrel banjo players were the rock stars of the 19th century. They were the ones touring internationally, playing to packed houses, and burning up the fingerboard to the delight of adoring fans (click here for an excellent history of the minstrel era).

Times have changed, of course.

But the influence of these early 5-string stars still holds sway today, especially amongst fans of downstroke style banjo. Though the history of the minstrel show era is complicated, one of the bright spots of its legacy is the wonderful body of music it left us with. Like Appalachian old-time, it was the synergistic amalgamation of a of range diverse musical influences, and a uniquely American art form.

A body of music that, if you’ve learned the basic clawhammer technique, is accessible to you (with a bit of time in the woodshed, of course).

So, for this installment of the tune of the week, I’m introducing our first minstrel banjo tune in the form of Frank Converse’s “Callowhill Jig.” It’s a lilting, infectious little melody.

If you’ve never dabbled into minstrel tunes before, you’ll find that playing them will feel simultaneously familiar and strange. This is still downstroke style banjo. The nail of your index or middle finger and the flesh of the thumb are still your string-striking implements. The fretting hand also gets plenty of action, and you’ll find alternate string pull-offs commonly employed to generate melody notes.

But gone is the bum ditty backbone you’re accustomed to. The rhythms here are bit different, and the melodies a little more ornate. You’ll find ample use of triplets, some of them (as in the 5th measure of this tune) generated by dragging your nail across multiple strings – the Galax lick, slow motion style. You’ll also find the thumb emerging often from the shadows of rhythmic support to play melody notes on the 5th string, a variation that may take a bit of getting used to.

I think these tunes are loads of fun, and the new techniques you pick up along the way will only expand the range of music you can make with your 5-string. New shades of color in your style palette, so to speak.

These tunes were played on what we now refer to as “minstrel banjos” – fretless, strung with gut, and tuned lower in pitch than the modern steel strung banjos of today. “Standard” tuning for the minstrel banjo repertoire was the equivalent of what we now label as “standard C”, or “drop C”, tuning: gCGBD.

On a minstrel banjo, the pitches were down to either dGDF#A (which is what my gourd is tuned to) or eAEG#B, known as “Briggs” and “Converse” tuning, respectively.

As I said, the rhythms used in minstrel tunes are often a bit different – less squared off than what you’ll find in the typical old-time banjo repertoire. I’ve tried to represent them here in the tab, but you’ll probably find it easiest to listen to the video to get a sense for how it should all come together.

Callowhill Jig

gCGBD tuning, Brainjo level 3

Screen Shot 2015-05-15 at 2.28.59 PM

Screen Shot 2015-05-15 at 2.29.09 PM

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

Clawhammer Tune of the Week: “Green Willis”

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.

We’re living in a golden age of banjo making it seems. The number of skilled craftsmen putting out gorgeous playing and sounding banjos seems to be growing all the time.

For those of us afflicted with Banjo Acquisition Syndrome, living in a moment like this and still maintaining a positive bank balance requires Herculean amounts of willpower.

Up until recently, I’d been doing well.

And then temptation struck in the form of a Cedar Mountain banjo up for sale in the Banjo Hangout classified section. Specifically, a Cedar Mountain banjo with an integral Rosewood tone right, offered at a price too good to overlook.

I’d known for a few years that this particular combination of materials produced a tone I love – a round, woody, and bell-like voice not found in my current stable of banjos (and I love all of them, don’t get me wrong!). So I caved.

I’m only human, after all.

When it arrived, it was every bit the banjo I thought it would be, and more.

One of the first things that fell out when I grabbed it for the first time was this week’s tune: “Green Willis.” Who knows why, perhaps because it affords so many opportunities to hear the growl of that throaty open fourth string.

Green Willis is a notey little bugger, with enough going on to keep both hands busy. And this one is arranged in full-on melodic style, which in my opinion suits this tune best.

Green Willis

aDADE tuning, Brainjo level 3-4

Screen Shot 2015-05-08 at 7.58.25 PM

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

Clawhammer Tune and Tab of the Week: “Waterbound”

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.

For the last installment of the week, things got a bit rough and rowdy with everyone’s favorite rags to riches ode to the mountain man: “The Ballad of Jed.”

So, to help restore order and balance to the universe, we’ll be taking it nice and easy this week with the tune “Waterbound” (also known as “Stay All Night”).

Not that you can’t get rowdy with this tune – it’s often played uptempo at a pace for dancer driving, but, as I hope you’ll find, it also sounds quite good slowed down a bit. Which makes it a little easier for adding your voice to the mix, too.

My favorite version of this Round Peak classic comes from one of my favorite albums of all time, the Paul Brown and Mike Seeger collaboration “Way Down in North Carolina.”

For this version, I’ve taken it down from it’s usual key of A setting to the more vocal-friendly key of G (so just capo 2 if it comes up in a jam, as your fiddlin’ friends will be playing it in A).

In the arrangement below, I’ve tried to include several of the variations I play in the video in both the A and B parts.

Waterbound

gDGBD tuning, Brainjo level 3

Waterbound tab part 1
Screen Shot 2015-04-30 at 7.07.35 PM

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

Notes on the tab: I tried to include the variations I play on the A and B part in the tab above.

Notes in the shaded box are to be played as “skip notes”. Check out this video for a detailed explanation (with exercises)  on skip notes and “syncopated skips.”

  • « Previous Page
  • 1
  • …
  • 55
  • 56
  • 57
  • 58
  • 59
  • …
  • 71
  • Next Page »

Copyright 2024 - Brainjo LLC, Owner of clawhammerbanjo.net   Privacy Policy - Terms of Purchase - Terms & Conditions