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-- Back to Table of Contents - Strategies for Mastering the Art of Old Time Banjo Timing And PhrasingIn order to play melody with the frailing strum we have to be able to shift the rhythm into different patterns, sometimes from measure to measure, while keeping a steady beat. Quarter Note PatternsIn the basic 4/4 time frailing strum we play a pattern of one quarter note and two eighth notes twice in each measure.
The count for each measure is "1 2 & 3 4 &" or "bump dit-ty, bump dit-ty" In this next example we are going to play three quarter notes followed by a strum-thumb (dit-ty). Example One:
The count for this new pattern is " 1 2 3 4 &, 1 2 3 4 &" or "bump bump bump dit-ty". We can get away with this because playing three quarter notes and two eighth notes gives us the same time value as two frailing strums. That's the trick to rhythm. You can play any combination of notes and/or rests in a measure as long as their total added value matches the time signature. That's the theory, now we have to look at the technique. The big issue here is control. With the basic frailing strum we have a repeating pattern to work with so it's fairly easy to maintain a constant rhythm. When we start changing one or more measures in a song we are intentionally throwing ourselves out of this rhythmic pattern and that can make it easy to lose control of the rhythm. This control issue is the reason I stressed driving the motion of the strum from the forearm with the thumb resting on the fifth string. If you are playing with a lot of wrist movement or flicking your fingers you wind up adding in a recovery period after each motion and that makes it extremely difficult to keep things together when you start breaking up the measures. Let's look at another picking pattern. Example Two
Moving between the fourth and first strings should be nothing more than a matter of opening and closing the webbing between your thumb and index finger if you are using the proper technique. There is almost no recovery time because there is very little motion going on. You are just moving your forearm enough to put the fourth or first string directly under your middle fingernail. With sloppy technique this run becomes more and more difficult as you pick up speed because your have to swing your wrist back and forth to reach the strings. Keep in mind that we're only talking about quarter notes right now. When we get into eighth and sixteenth note runs there is even less time to work with. Proper technique is a pain in the neck to practice in the beginning, but over the long stretch it literally makes everything easier. Let's look at a few more exercises. Example Three
As simple as this exercise is on paper it may take you some time to be able to hit the right strings. The trick to this is not to look at your picking hand. Looking at your hand in order to "find" the string you want to hit is pretty futile. By the time your eyes single out the string, send the signal and your brain fires off the command to your hand you'll have already slipped out of rhythm. There just isn't any time to "think" when you are playing. For a pattern like this the way to practice is to focus on the rhythm. You want to at least try to hit the correct strings, but not at the expense of the rhythm. If you hit a bum note don't stop or start over again. Just keep the rhythm flowing. If you stick to it you will eventually develop a feel for where your hand is in relation to the strings and you'll hit the right one every time without thinking about it. Example Four
In this example we are playing a "bump dit-ty" followed by two single notes. This creates count of "1 2& 3 4" in each measure. Play this back-to-back with example one. In example one we were playing three quarter notes followed by two eighth notes. In this example it's a quarter note, two eighth notes and two quarter notes. It's the same notes, but by changing the sequence (rhythm) we end up with something that sounds completely different. Example Five
In this example we have combined elements from two of the earlier examples. The count for this exercise is "1 2& 3 4, 1 2 3 4&" Example Six
Nothing changes when you add a chord into the mix. In this example we are working out of an F chord. Example Seven
In this example we are working out of a chord progression. Once you can play this smoothly make up some of your own exercises to blend quarter note runs with chord progressions. Eighth Note PatternsOnce you can play some quarter note runs smoothly the next step is to start working on eighth note patterns. An eighth note is literally half of a quarter note. What this means in terms of the banjo is that we have to cut the "bump" in the bump < dit-ty in half ( 1& 2& 3& 4&). Hammer-On's & Pull-Off'sThese two easy techniques are used to split a quarter note in half. Your picking hand only has to worry about hitting a string. The fretting hand does the rhythmic work. At it's most basic a hammer-on involves nothing more than striking a string and, while it's still ringing, hammering your finger on a fret. This shortens the initial sound of the string and sets off a second tone creating the "1&" count of a pair of eighth notes. Example One
In this example we are striking the third string open and then hammering our finger onto the second fret. This is cutting the "bump" in half to produce two eighth notes. You will also notice that I shortened the "dit" to only strike the first and second string. This is optional, but it's worth practicing because sometimes you are going to have to play the strum "around" fretted notes that may clash with the open chord. A pull-off works just the opposite from a hammer-on. You fret a string, strike it and, as it's still ringing, pull your finger off of the fret. Just like a hammer-on, this shortens the initial sound of the string and sets off a second tone creating the "1&" count of a pair of eighth notes. Example Two
Here we have a pull-off exercise that's pretty much a carbon copy of example one. Compare the sound of this exercise to the earlier hammer-on version. It should sound the same because we're working with the same strings, the same rhythm and the same fret, but the fact is that these two techniques yield very different results. Let's play some licks that feature hammer-on's and Example Three
In this lick we are moving up the neck to the fifth fret. Example Four
Here we are playing hammer-on's and ending the second measure with a quarter note run. This is good practice to make sure that the hammer-on action isn't throwing your rhythm off. The count is 1& 2 3& 4&, 1& 2 3 4. Example Five
In this example we are playing out of a G suspended chord. This is the kind of lick that is usually associated with what some people call "mountain modal" music. The count is 1& 2& 3& 4&, 1 2 3 4&. Example Six
In this example we are playing a series of pull-off's. The count is 1& 2& 3& 4&, 1& 2& 3& 4&. Example Seven
In this example we are mixing up hammer-on's and The count is 1& 2& 3& 4&, 1& 2& 3& 4&. Example eight
In this example we are changing from a C chord to an F chord. This should be pretty easy because we are playing the same pattern through both measures. The only things that change are the chord forms. The count is 1& 2& 3& 4&, 1& 2& 3& 4&. Example Nine
The timing for example nine shouldn't be that tricky. Your picking hand isn't doing anything in the first measure except playing four quarter notes. It's the fretting hand that's doing the work, and if you really look at it there isn't that much going on. This is one of those licks that can sound impressive or difficult, but at its core it's just the basic frailing strum. The count is 1& 2& 3& 4&, 1 2& 3 4&. SlidesAnother way to split notes in half is to play a slide. A slide is where you play a string at any fret and, while it's still ringing, drag your finger up or down the fretboard to another fret. The effect of a slide is similar to a hammer-on or pull-off in that you are breaking a note in half, but the thing that makes a slide unique is the way it blends the two notes together. A hammer-on or pull-off creates two distinct notes. A slide eases into the next note. The thing I love about slides is that you can get so many different sounds just by changing the amount of pressure on the string. You can keep a steady pressure all the way through the motion for one sound, but if you alter the pressure along the way it can change the whole effect. Example One
In this example we are sliding on the second and fourth strings.
The tab may look different from the basic frailing strum at first
glance, but if you look closely you will see that your picking hand
is only playing a basic frailing strum. Like the hammer-on and pull-off
slides are completely independent of the picking hand. You are creating
the sound of four eighth notes, but your right hand is treating
it like a quarter note and two eighth notes. Example Two
In this example we are sliding on the first and second strings. The slide in the second measure is worth paying attention to because we are sliding the second string to where it matches the open first string. That strum after the slide with the first and second strings ringing the same D note can be used in a lot of situations where you want to add a little bit of flavor or emphasis to a song. Experiment with the effect and you'll be pleasantly surprised at how many ways you can use it. The count is 1& 2& 3 4&, 1& 2& 3 4&. Example Three
In this example we have a slide followed by a pull-off played over the basic frailing rhythm. This sort of rhythmic pattern comes in handy when you are backing up fiddle tunes. The count is 1& 2& 3& 4&, 1& 2& 3& 4&. Example Four
Like example three, this is another rhythmic pattern you can use for backup. The difference here is that we are breaking out of the frailing pattern in favor of playing a single quarter note between the slide on the third string and the pull-off. The count in the first three measures is 1& 2 3& 4&. The count in the fourth measure is 1& 2& 3 4&. Example Five
Slides are not a one-way deal. In this example we are sliding on
the fourth string at the fourth fret to the second fret. The other
thing to note in this example is that in addition to the slide we
are also playing single notes and a hammer-on through a chord progression. Double ThumbHammer-on's, pull-off's and slides are fretting hand techniques that split quarter notes into eighth notes. Double thumb is a picking hand technique used to split notes. The technique itself is pretty easy but the timing can be difficult if you haven't spent enough time working with the basic frailing strum. Example One
In this first tab we have a simple quarter note lick similar to what we were working on at the beginning of this chapter. The count here is 1 2 3 4&, 1 2 3 4&. No problem, right? What we are going to do now is pluck the fifth string with our thumb after the first two single notes in each measure. This is easy enough because our thumb, if we are using the proper basic frailing technique, is riding right on the fifth string.
The count is now 1& 2& 3 4&, 1& 2& 3 4&. Let's take a closer look at what's going on.
Here is the same lick with the count and the fingering laid out beneath it. All we are doing is following the two single notes with the thumb on the fifth string. If we left out the thumb the tab would go right back to the initial example where we were playing quarter notes. A good way to build up an understanding of when to use double thumbing might be to look at how a flatpicking guitarist plays a solo. Part of the speed in flatpicking comes from the ability to pick up and down on a string to play eighth notes. In frailing we are only working with a down stroke, but we can create the illusion of that up and down motion by doubling single notes with the fifth string. Example Two
In this example we are playing a double thumb on each string from the first to the fourth in the first measure and from the fourth to the first in the second. The count is 1& 2& 3& 4&, 1& 2& 3& 4&. Example Three
In this example we are weaving the double thumb across all four strings. This a good practice pattern for your picking hand. The count is 1& 2& 3& 4&, 1& 2& 3& 4&. Example Four
There is a lot going on in this example. In the first measure we are playing a double thumb on the first string fifth fret followed by two quarter notes. In the second measure we have a pull-off followed by a single note and a frailing strum. The count is 1& 2& 3 4, 1& 2 3 4&. Example Five
There is only one double thumb in this example, but look at how we are using it right in the middle of a string of eighth notes. The count is 1& 2& 3& 4&, 1& 2 3 4&. Example Six
In this example we are mixing in the double thumb with The count is 1& 2& 3& 4&, 1& 2& 3 4&. Example SevenIn this last example of the double thumb let's look at how to convert a basic frailing strum into a string of single notes.
Is this tab we have a simple melody played with the basic frailing strum. In order to convert this to single notes we can double thumb the "bump" but we have to fill in the "dit-ty" somehow. That's the kicker. We can do pretty much whatever we want in the confines of a measure, but we have to make musical sense while we're doing it. If we turn the quarter notes into eighth notes we have to do something in place of the strum thumb. The next tab illustrates one solution to this problem.
What we have done here is replaced the strum-thumb with a double thumb. That gives us the space we need between the notes to keep the melody intact and creates an interesting rhythm at the same time. I left the last quarter note and two eighth note pattern intact to give the exercise a sense of conclusion. If you want to play this in a repeating pattern for practice you can change that to double thumbs on your own. Phantom EffectsUp to this point every technique we have been exploring involves playing one note at a time. This makes sense because in old time banjo we are only working with our thumb and middle fingernail in a downward motion. In order to create at least the illusion that there is more than one string being played we have to bring the left hand into the game with what I usually group under the general heading of phantom effects. A phantom effect is when you play a string with your picking hand while playing another string with your fretting hand. Example One
In this example we are playing the "bump" of the basic frailing strum on the first string and at the same time hammering on the third string at the second fret. The timing here is 1& 2& 3& 4&, 1& 2& 3& 4&. This is tricky to tab out because as far as your right hand is concerned you are playing a quarter note and two eighth note frailing strum, but because of the hammer-on being added by your fretting hand it sounds like you are playing a string of eighth notes. Example Two
In this example the picking hand is playing a "root-five" pattern in G. The fretting hand is hammering-on and pulling-off the first string at the fifth fret. In order to get a smooth rhythm here just play the frailing strum while alternating between the third and fourth strings. Then add in the phantom effect on the first string. The count is 1 2& 3 4&, 1 2& 3 4& but it sounds
like Example Three
Here is a lick similar to Example Two, but this time we are pulling-off on the first string. Listen to the playing of the great Buell Kazee on www.archive.org for examples of this lick in use. The count is 1 2& 3 4&, 1 2& 3 4& but it sounds like 1& 2& 3& 4&, 1& 2& 3& 4&. Example Four
In this example we are playing the third and second strings while the fretting hand is playing the phantom effect on the fourth string. The count is 1 2& 3 4&, 1 2& 3 4& but it sounds
like Example Five
In this example we are playing the first string with the picking hand. The phantom effect is played on the third string at the second fret. We are changing it here by playing a phantom hammer-on and then at the same time we are playing the strum-thumb we sliding from the second string to the fourth fret. The slide and the strum are happening at the same time. The count is 1& 2& 3 4&, 1& 2& 3 4&. Arranging TunesLet's put what we have learned so far to practical use and come up with our own arrangement for a song. You'll hear the song "Old Joe Clark" played just about everywhere. It's usually thought of as a fiddle tune but it has a set of lyrics to sing and a really easy chord progression. The first step to working out a tune is figuring out the rhythm and the chord progression. For this example we are going to play "Old Joe Clark" in the key of G in 4/4 time. I will tab out the chord progression with a basic frailing strum for you, but the next song we work on you are going to have to do this all by yourself. Old Joe Clark verse
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