Playing the Banjo

Stroke Style

 

            Much attention should be given to the manner in which the banjo is played. To simplify the technique, we might say that the banjo is struck with the first (index) finger and the thumb only. When striking the string with the finger, one should hit the string with the back of the nail in a downward motion toward the top of the banjo. The thumb strikes the string in a natural, upward motion with the ball of the thumb touching the string. For exact execution and practice of this technique, let us refer to our Tutors.

            The earliest book we see is the Briggs’ from 1855. The instructions for the right hand are thus:

THE RIGHT HAND

            The thumb should be extended and rest on the 5th string. The fingers should not be separated, but held closely together, and move simultaneously with the first finger: the first finger should be held a little further out from the hand than the other fingers. The fingers should be held stiff, except at the 3rd joint. The wrist should be held limber.

 

MANNER OF PLAYING

            In playing, the thumb and first finger only of the right hand are used.; the 5th string is touched by the thumb only, this string is always played open, the other strings are touched by thumb and the first finger, the thumb and finger should meet the strings obliquely, so as to cause them to vibrate across the fingerboard. The strings are touched by the ball of the thumb, and the nail of the first finger. The first finger should strike the strings with the back of the nail and then slide to. * When using the thumb, the first finger nail should rest against the 1st string; when using the first finger, the thumb should rest on the 5th string.; when the first finger strikes any one of the strings, other than the first string, the finger should slide to, and rest on the next string to the one struck; when the 1st string is struck, the finger should slide to, and rest on the top of the instrument.

 

*This is exactly how the sentence appears in the book. What I believe it meant to say was “the first finger should slide to, and rest on the top of the instrument” as it does a few sentences later.

  

 

            Be sure to get this right. The success you will have in playing this style depends upon your comfort and execution of the right hand. Be sure to spend plenty of time getting the basics of this motion to be of second nature. Practice the Briggs’ Movements diligently before trying your first song. Then, come back to them often. Feel the support given to the first finger as it rests on the second and strokes a note. Keep the hand firm, but relaxed. Fingers stay closed and the pinky touches the palm. The first finger will be slightly extended. Visualize the relaxed dropping of the hand upon the string as you strike a note with the first finger. Let the string glide across the back the nail. Experiment with angle in which you have your hand to the strings. It should be obtuse, but to what degree is personal..

 

            Get a strong foundation with the simple Briggs’ songs. Try several of these before you move on. They have a consistency not found in the later books, as the thumb becomes more active. Solid playing on the Briggs’ material will only make later more complicated songs more approachable.  

 

THE LEFT HAND

 

            As for the left hand, I am assuming that most of you are coming into this with some experience on another fretted instrument. The basic hand position is the same as any banjo or guitar player has already learned. That is where the similarities end. The fretless banjo is a far more difficult endeavor. One must get the finger in just the right spot to have a note sound in tune. Hopefully, your ear will dictate when you stray from the right pitch. If not, or you feel that you want to be really  sure, stay close to a tuned piano and check yourself frequently. Using a chromatic tuner can also be quite revealing. Eventually, you will get a feel for for it and quite easily play in tune. You mainly stay in  “position” and the fingers are merely dropping into the same places over and over. As you encounter pieces that are played in a higher position, you must find the spots (some physical characteristic of your banjo) which correspond with your correct sounding note. If you feel out of tune, check to see how “square” you are to the fingerboard from the tips of your fingers. You may need to adjust your bridge to have these spots line up.

            Once you are going, there is nothing like the freedom and natural feel of only your finger, the string, and the wooden fingerboard. It is very expressive, and one feels totally connected to the instrument.