Good Morning Long Branch from Anchovy World Headquarters this morning 7:39 am

George Feb 25 Bruce Feb 25Georgie and Bruce listening to Mister Anchovy playing the banjo this morning on 27th Street.

Train that carried my girl from town….

Last night at the Banjo Special, we enjoyed several combinations of performers but I think my favourite was the duo of Chris Coole and Ivan Rosenberg. These guys sound fantastic together. I’ve also been listening to their recording, Return to Trion, in the car – it’s got some great tunes.

Here’s a performance of one of the tunes on the album…

When I think about old time music I usually think about American musicians from places like North Carolina or Virginia or West Virginia or Kentucky, but we we have some great players like these guys based right here in the Toronto area.

How does memory and learning work, anyway?

I’ve been playing clawhammer banjo for close to two years and I’ve been working on learning new tunes and at the same time improving my technical skills. I find that some songs are much easier to remember than others, even though they are require a similar skill level to play them. Perhaps it’s because some melodies resonate with me more immediately than others. I’m not really sure.

When I started playing, I learned primarily from tabs, and I suspect that sometimes my brain gets lazy and uses the tab as a crutch. I can play certain tunes reasonably well if I have some music in front of me, even if I only occasionally glance at it, but when I take away the written notation, I sometimes have trouble. Once I learn a tune, I tend to try lots of different things with it and after a while the way I play it becomes somewhat different than the way I learned it. I like to watch videos of other players doing the same tune and sometimes I’ll try to add in some of the things I see them doing. When I was playing a lot of button accordion, I found that certain licks were key to remembering a whole song. In other words, if I remembered how a particular part is played the whole tune would fall into place.

I know that being able to hear the song in my head is key. I have poor vocal control so I don’t try to sing much. Some players learn to sing a tune first then try playing it. One of my goals is to wean myself away from using written notation. I’m going to try learning tunes by watching and listening to videos. There are plenty of videos on the YouTube in which a player goes through a tune slowly and I think those will be helpful. I think that hearing it slowly, having some visual clues by watching the video and really listening to what’s going on in the song will help. I suspect not having a tab to be dependent on will help as well. Once I’ve managed to learn a dozen or so tunes this way, the next step is to try to learn it from a recording without the visual aid. I think that’s a good goal to set, even if it takes me some time to get there.

When I attended the Midwest Banjo Camp, I was very nervous about jamming and starting in a slow jam helped build my confidence quite a bit. I surprised myself by being able to contribute to a jam on some tune I hadn’t heard before. Of course there are lots of things going on in a jam that help. I found that hearing the guitarist’s chord changes helped, and in a jam you know the tuning at the get-go and that helps too. Old time tunes aren’t that complex, even if they sometimes sound that way at first blush. I found if I could pick up some of the melody, and I could figure out the chords I could recognize licks that come up over and over in old time music and next thing I knew I was more of less playing along. Sometimes I would get in the weeds and play something that sounded horrible, but I think that’s part of the learning experience. I wonder if regular jamming would accelerate my learning on the incident or just my learning in jams. I’m not sure.

One thing I learned playing button accordion that holds true for clawhammer as well is that many shorter sessions cause me to learn more and faster than fewer long sessions, although that doesn’t make long playing sessions bad. Any way you look at it, practice is at the heart of learning an instrument. It’s true that for some people this kind of learning appears to come effortlessly, but I think most people have to work at it to get good. When my brother and I went to see the Kruger Brothers’ last performance in Toronto, Salvelinas had an opportunity to chat with Uwe Kruger, who mentioned to him that when they weren’t touring, they worked in the studio all day every day. It seems those guys play effortlessly, but I suppose it makes sense that they too work hard at it and practice all the time.

Frank Caught a Woodchuck

I really like Dave Landreth’s banjo playing. He posted this original on the YouTube the other day and this tune simply makes me smile so I thought I’d share it here. It’s got a lot of stuff going on in it.  If you like it, check out his other videos.  He also has a CD available online that I also like a whole bunch (just ask Mr. Google, that’s how I found it).

Sawmill tunes

My brother and I were exchanging emails about tunes in modal or “sawmill” tuning. I like a lot of the modal tunes but I don’t play them that often on clawhammer. One I particularly like is Bonaparte’s March. Here are the Indian Creek Delta Boys.

Another great tune in modal tuning is Cluck Old Hen. Here’s Aubrey Atwater having a go at it. She also plays it slowly to teach the tune.

For a while I was playing Boatin’ up Sandy quite a bit – also in modal tuning. I went looking for a version on YouTube and realized that I posted me playing that tune quite a while ago….here it is.  For some reason I stopped playing this one – not sure why – it’s got a wonderfully hypnotic melody. I’ll have to add it back into my tune list.

On banjo, when players say they are in Sawmill tuning, they mean that tuned in standard G tuning, they tune the second string up a half tone from B to C.  That’s G modal tuning. To make it A modal, you can capo up to the second fret.

Mark Twain on the banjo….

The piano may do for love-sick girls who lace themselves to skeletons, and lunch on chalk, pickles and slate pencils. But give me the banjo. Gottschalk compared to Sam Pride or Charley Rhoades, is as a Dashaway cocktail to a hot whisky punch. When you want genuine music — music that will come right home to you like a bad quarter, suffuse your system like strychnine whisky, go right through you like Brandreth’s pills, ramify your whole constitution like the measles, and break out on your hide like the pin-feather pimples on a picked goose, — when you want all this, just smash your piano, and invoke the glory-beaming banjo!
– “Enthusiastic Eloquence,” San Francisco Dramatic Chronicle, 23 June 1865


My experience at the Mid-west Banjo camp kick-started my learning and since I returned home I’ve wanted to play and play and play. With that kind of immersion experience you get exposed to a lot of ideas, but most of them require plenty of practice to make those ideas part of your playing.

I’ve been learning clawhammer in isolation and suddenly I was exposed to jamming. Wow, was that ever fun! It really changed my whole experience of the music. I’d love to play with other people more often. Meanwhile, I’ve been working on adding some new tunes and ideas (to me at least) to my little repertoire.

I love learning new things, and when I take on a new challenge I like to jump into it with a lot of effort and enthusiasm. I started playing music – button accordion – in my early 40s, and now over the past year and a half I’ve jumped into playing clawhammer banjo. I’m encouraged that I can hear my playing improve and the more I improve the more I want to learn.

Raw Materials

DSC04495After finding that beautiful maple syrup can recently, I ordered up a neck from ebay. My other canjos have been “A” scale but this is a full length neck. It’s in pretty good shape and I think it will make a nice instrument….once I get around to finishing up the mountain banjo waiting in the workshop for my attention.