Source of Indiana songs

People interested in old music of the Midwest might like The Play-Party in Indiana, which describes many of the songs and party dances enjoyed in rural Indiana at the turn of the 20th century and earlier. You can read the book online or download it from Google Books.

You’ll recognize several song names (Polly Put the Kettle On, Golden Slippers, …). The melodies aren’t always what we associate with the names, and it’s clear that thrifty Hoosiers got a lot of use out of the melody that we know now as “Buffalo Gals.”

Here’s a song that’s now played as “Hawks and Eagles” at old-time sessions:

I like the lyrics in the next one. Unfortunately, the dance notes don’t describe what happens when the dancers are supposed to “all chaw hay on the corner”:

Hey Australia! Want a workshop or jam?

I’m happy to report that I’ll be visiting Australia from mid-November to mid-December on a business speaking tour, and so far it looks like I’ll have time for a banjo workshop or jam at these points:

Nov. 15 or 16: Adelaide or Tasmania
Nov. 22: Perth or Darwin
Nov. 28-29: Brisbane or Sydney
Dec. 6: Melbourne

I don’t want to book all these dates (even if it were possible) but if the date for your area looks good and you’d like to organize something, please let me know at the email address listed under the “About” tab.

Workshop topics could include syncopation/beyond bum-ditty, learning by ear, making a tune your own, or similar ideas. Or we could just jam–whatever works for you.

I’m also hoping to go to a bush dance or two and otherwise check out the music & dance scene, so if you know of anything I shouldn’t miss, please pass it along.

Nylguts + light bridge = great pop!

When I first put nylon strings on my Stewart, I kept using my usual Grover bridge with the ebony inset. I liked the strings but they seemed quiet.

Then the banjo’s neck needed a repair, which lowered the action, so I wanted a taller bridge. Luckily I found this page, where Joel Hooks describes the type of bridges that work best with nylon strings.

I ended up getting a tall maple “minstrel style” bridge by Bill Morris. It has no ebony inset.

Now the Nyguts have a surprising amount of volume and “pop”—more than the steel strings ever had. After hearing the minstrel bridge, a banjo buddy made a similar light bridge for his Nylgutted banjo and also got the boost in volume.

So if you try nylon strings, you might try a lighter bridge, too!

See how Aquila owners make gut strings

Here’s a video visit to the small Italian workshop where the Aquila folks (of Nylgut fame) show you how they make gut strings. At the end you’ll see a garage full of Nylgut.

The video is part of the Ukulele Safari, in which uke players Bosko and Honey film ukulele players around the world. I want to be Bosko & Honey.

Beginners: What do you need?

Several people have asked me to make some videos for beginners, so I guess I will. I’ll start with the very basics, like how I hold the banjo and how I tune it. I’ll also cover how I approach the basic clawhammer stroke.

A bit of a caveat: I’ll assume that beginners plan to play all sorts of music, so I won’t focus exclusively on what’s considered correct in the old-time community. I’ll just show what has worked for me.

Are any beginners reading this? If so, what do you want to see that isn’t already covered by other YouTube videos? Please leave a comment.

In Europe? Make your Banjoree plans!

Want to break out of the “bum-ditty” box? I’ll teach “Progressive clawhammer banjo rhythms” on May 2 at the Banjoree near Hagen Germany. We’ll play several non-”bum-ditty” rhythms, including Balkan ones like 7/8, that you can use to expand your clawhammering creativity.

The rhythm workshop is just one of several at the weekend. You can build your expertise in many styles, including:

• Scruggs technique: Juergen Biller
• Classic and minstrel: Clarke Buehling
• 3-finger single string: Andreas David
• Progressive clawhammer banjo: Udo Weihrauch

There are also workshops in three-finger bluegrass guitar (Wayne Henderson) and bluegrass mandolin (Ulli Sieker).

Of course, we’ll also have jams. If you’re usually focused on melody but want to connect more with rhythm, then find me and we’ll organize a “trance jam” that will help you dig down into the groove.

I may also visit the UK, the Netherlands, and France near the time of the workshop. My plans aren’t firm yet. If you know of any festivals in the region, or if you’d just like to jam, let me know!

Chair dancing

Only marginally banjo-related, but hey, there’s a banjo playing.

Minneapolis Eagle’s Club #34; caller is Ann Carter. Unfortunately, I don’t know who the band is.

Consumerism and orthodoxy in old-time?

In the mood for a rant? I am!

If you’re familiar with my feelings about tab, you won’t be surprised that the following paragraph caught my eye in a book about the American Balkan scene:

Consumerism and a museum mentality are definitely evident in the Balkan music and dance scene. “There is a lot of that collecting mentality. Oh, that tune, I want it,” Jane explained. One can collect tunes, step patterns, and musical instruments, just as one can collect folk costumes or records. There is a strong desire to possess the “objects” of one’s fascination….Whether or not this collecting appetite is utilitarian, it is often insatiable.

While it may pander to consumer cravings, the Balkan scene continues to be a living tradition, according to the author, Mirjana Laušević. How does it compare to the old-time scene in that respect?

The Balkan scene distinguishes itself from a number of American folk scenes that seem to have shifted rather decisively from “tradition” to “orthodoxy”….”A traditional society has been transformed into an orthodox one when what was a matter of course (what was once absorbed and habitual) has become subject to rules, formal teaching, and scrupulous attention to textual authority.”

Old-time rules

Maybe I’m just cranky because I hurt my wrist and can’t play for awhile. But I’m familiar with both the Balkan and the old-time scenes, and the old-time scene has far more rules — rules that I think can limit our development as musicians. A few rules I’ve learned:

Welcome, Gold Tone friends

I’m very honored to be Gold Tone’s Artist of the Month for November, and I’d like to welcome the people who are coming here from Gold Tone’s page.

Here you’ll find clawhammer tab and MP3s for European dance tunes, plus some fun Illinois tunes. You’ll also find a few video lessons on rhythm and musicality for intermediate players.

In most of the MP3s, I play straight and plain, to make it easier for you to learn the tune. All my tab is informal and the videos are even more so.

In the videos, you’ll see two Gold Tone banjos: the big CEB-5 cello banjo and the OT-800 tubaphone. Both have helped expand my style—the cello with its dark, low voice and the OT-800 with its wide dynamic range.

Feel free to explore by clicking a category or tag on the right. You can also check the index for a list of all tunes, or read the About page for more information. And if you have anything to say, leave a comment. I’d love to hear from you.

Which notes to leave out?

At the risk of turning this into a “real” blog with text, I’ll post a comment I just left on the Banjo Hangout discussion about leaving notes out, and then rant a bit. The question was, basically, “I want to be less notey. Which notes do I take out, and what do I replace them with?”

In case it’s helpful, here’s what I cut: