MikeScottMusic.com

Serving Up Banjo By Mike Scott

JANUARY 2001 EDITION
DECEMBER 2000 EDITION
OCTOBER 2000 EDITION
SEPTEMBER 2000 EDITION
AUGUST 2000 EDITION
JULY 2000 EDITION
JUNE 2000 EDITION
MAY 2000 EDITION

JANUARY 2001 EDITION

Happy New Year to everyone, Hope everyone is ready for a New Year.
I’d like to get started this month discussing the different types of finger picks available, and some helpful hints that may be useful in making the right choice in a finger pick. Most people starting out on the banjo usually select banjo picks that are recommended or used by another player or music store. Not much thought is given to the type pick you start out with. Hopefully when learning your rolls you have started out with the appropriate pick. As your hand develops , you’ll get comfortable with the banjo and the feel of the picks. There are differences between the various brands of picks.
I started out learning to play on “National” finger picks. These are flat on the tips as they curve around the ends of your fingertips. Another brand of finger pick is “Dunlop.” They have a rounded, concave tip. Other styles of metal finger picks are “Ernie Ball” these have more of a sharp tip, and the “Golden Gate” finger picks, which are more of a lightweight finger pick. These metal finger picks are used for basic three finger style banjo playing.
I noticed early on that in using metal finger picks, the metal striking against the metal string can, and does, get noisy. Something I do to help cut down on the “squeaks” is as I put my index and middle finger picks on, I turn my leather banjo strap to the rough side and rub them several times to clean the metal on the picks and add natural oils from the leather. I use a plastic thumb pick as most players do, but there are occasional players that use a metal thumb pick. When I have tried using a metal thumb pick it is too noisy and I don’t have the flexibility of a plastic thumb pick.
A lot is determined as it comes back to an individual style and use of his/her right/left finger picking hand. Remember always try to get a flat pull-up strike on the string with the finger pick. This will help you get the balance tone from the strings of the banjo. Keep working on your right hand to help develop a strong solid but yet comfortable and relaxed technique. Plenty of practice and patience makes a solid player. Keep those picks rolling! See ya next time... Mike Scott TOP

DECEMBER 2000 EDITION

Wow! What a great time of year! I was wondering if every one is as blown away as I at how the new year has flown by us? Christmas is just around the corner.
I was thinking about what I could share with you all this month that would be of importance or value to use in your world of banjo and I couldn’t help but think of my two sons. Tony is sixteen and Tyler is nine. Both are very interested in playing drums and guitar. Well, you ask, “what does this have to do with the banjo?” Let me explain.
I first want to say that I was fortunate at an early age to “discover” my god given talent on the banjo and guitar. I was a ten-year-old boy from the mountains of East Tennessee. I had great parents that worked hard and played hard. I, unlike a lot of kids my age, had a different perspective
Regarding “playtime,” I would practice my banjo six, eight and sometimes ten hours a day wherever I could. I would practice at home, in my head (at school when I could), or on weekends at festival shows or at jams at fiddlers conventions. I think back to my early years and I can name or remember the people who were instrumental in helping me nurture my talents and banjo skills. As a kid growing up, I would try to learn all I could from anyone who would take the time to explain or teach me something. I now see that through the eyes and actions of my own two boys.
Here’s my point. As professional musicians, amateur pickers or someone who’s just beginning to play, we should never forget that “first influential person” that we were introduced to. The person that put an effort forth and tried to share and help us with our instruments or talents.
I will never forget the first time I saw or held a “real live banjo” at my uncle’s home in east Tennessee. I knew exactly what I had to have for Christmas, which was a month later in December 1972. It was the best Christmas a ten-year-old boy could ever have. It changed the course of my life forever. Kids especially never forget that person who goes out of their way to take a little extra time with them, to show them a new chord or lick. I know I won’t.
I use a standard rule in my life that has never proved wrong or void. You can never give of yourself too much or invest into others enough. When you take time for others, sharing and giving... you’ll be blessed. I know I am. To you and yours, Happy holidays... Mike TOP

OCTOBER 2000 EDITION

My favorite time of year is upon us now. Not too hot- but starting to cool down some. I can start to see fall working its way to us and the fall weather is bringing more people out to hear good Banjo music. “Let those Banjo’s ring, Ha!”
This month I’d like to talk about string wound application on your banjo. I know this sounds like a way basic subject but through my 28 years of playing banjo, I have found some techniques that have helped me in stringing my banjo.
I once had the opportunity to meet and pick with originator of the 3-finger style of banjo picking, “Snuffy Jenkins,” June1982. Needless to say it was a thrill and very memorable time for me. Snuffy Jenkins is credited for teaching the three-finger style of picking to Earl Scruggs. Enough said, the rest is history. Back to my meeting him.
He told me an interesting pointer in winding strings on the keys and I must say I still put on my strings in this manner today. He said, once I hook the loop end of the string to the tailpiece, let about 2-3 inches of extra string go through the “key” or tuning peg hole. Do a forward wrap around, back under the threaded string and send the excess length string forward to make an extra catch or locking point so the string won’t slip through or tend to go out of tune during playing. Once you start to wind the string on the keys, make sure you don’t “cross thread” the string over the previous wound string. You need to make sure the string is correctly lined up as it threads down the peg shaft below the hole in the key. This helps to keep an even balance and tension on the peg head. Roll the 1st and 2nd string alike (looking at the peg head), on the inside, left, and toward the nut as well as the 3rd and 4th looking at the peg head on the inside right and toward the nut. Once the banjo is tuned, clip off the excess string about 1/4 “from the tuning peg.” Always remember to change and tune up, only one string at a time, this helps keep appropriate tension on the head, neck and bridge. As the strings stretch, this will help you keep your banjo settled in. We’ve since lost Snuffy Jenkins, but one thing for sure, he gave me something that I could use every time I’ve changed strings. He also gave way for a style of banjo picking for all of us to appreciate.
‘Til next time... Mike TOP

SEPTEMBER 2000 EDITION

Well here we are in the prime of summer and conventions and festivals are booming. I hope everyone has been getting his or her fill of pickin’. If not, you need to get out and go to the nearest festival or fiddlers convention and do some jamming. This month I’d like to talk about prioritizing the amount of rehearsal and practice time in your schedules. It seems to me that everyone I come in contact with who plays a banjo or any other instrument, does not get self-gratification and adequate practice time. I’ve also learned by self-experience that the older I get... the less time I have in the day to practice. Wooh Now!!! Something’s wrong with this picture!

When I started out playing the banjo in 1972, I was ten years old! I ate, slept, traveled, etc., went everywhere with my banjo. As a matter of fact, my Mom and Dad would take me to local jams on Friday and Saturday nights, just so I could practice and learn from other band members and get the experience I needed. I would stand and pick for six to eight hours every weekend without stopping. By age 15, it finally took its toll on me. I had to check into the Hospital for five days. Due to standing holding a 20-25 pound banjo, I was having muscle spasms in my back. “Oh to be young again.” “Ha!”

That fresh desire to pick fortunately has never left me. I enjoy it now just as much as I ever did. I’m not sure if I could handle the eight or ten hour marathons. Ha! It is always good to set aside private rehearsal each day if you can. This not only keeps your fingers in shape, but it does make you a little more familiar with your banjo each time you play. I for one, on today’s routine, unfortunately, sometimes, don’t get to rehearse daily like I should. I can tell a big difference in my playing when I let a couple days go by. I continually do hand and finger exercises, especially when I don’t have access to my banjo. Let’s say that I do make up for lost time when I finally get to pick. Just remember this... “You only get out of something what you put in to it.” This is a fairly general rule but there is some truth to it. “Keep on Picking, create more time for your banjo, and most of all don’t neglect your God given talent.” Get out there and have some fun with your practice. My dad called it “wood shedding” time. “Value your rehearsal time, with yourself and your banjo. It’s all worth it. “‘Til next time... Mike

Editors Note: You’ve seen and heard Mike playing banjo with Carl Story, Jim & Jesse, and Danny Davis & The Nashville Brass. Now, catch Mike with his band and on his latest release on Maple Street Music, entitled Foggy Mountain Breakdown. Available worldwide where fine music and gifts are sold. Visit Mike’s web site at www.mikescottmusic.com E-mail comments and questions to mscott@mikescottmusic.com TOP

AUGUST 2000 EDITION

Hi folks. I hope all is well in the world of banjo for you and yours. I want to say thanks to all of you who have visited my new web page during this past month. I get real excited when I see people who support, promote and especially play the banjo. In this months column I want to discuss “Right Hand Positioning”, That is if you are right handed and wear your picks on your right hand. I guess you can be left handed and play right hand because my eight year old son Tyler is playing guitar right handed and he is definitely a “lefty”. I want to mention that your “first” hand Natural method is what really matters whether it is right or left hand.

Since we are talking about three finger style technique (thumb, Index and middle fingers), I’m here to tell you that it is the position of your hand on the banjo that gives you variation of tone. Also striking a string correctly and evenly with your finger and thumb picks will give you a much desired end result of clean precise pickin’.

I use small Dunlop plastic thumb picks because of a childhood incident of cutting off my right thumb. Fortunately, it was saved. But I require a very tight thumb pick. I use National Finger picks (1930’s originals) with gold plating.

Hand positioning is crucial. It puts you in control of your hand, not the hand in control of you. I arch my wrist, for maximum (but comfortable) position, as if I were to hold a ball on my wrist with my fingertips (with my arm resting on the armrest). I also hold down my ring finger and pinky finger together on the head in this arched position. When I first started out, I used electrical tape to hold my picky and ring finger together... just to teach me proper position. No one told me not to put these fingers on the bottom edge of my bridge. Yes, this does create a “muted” sound. But I was lucky. I started at 10 years old and had been playing only a month or two. I corrected that pretty quickly. I’ve seen some players only hold down their pinky finger on the head and their ring finger moves with their middle finger. Not to say this is wrong; I believe it is a “learned” method that any player develops in early stages of learning banjo. I hope some of these tips will help you enhance your playing and help you get better control of your right hand. Remember, the quality of your playing is learned by the “right” or “left” hand tone you pull out of your banjo. You play it... Don’t let it play you. From one right hand to another. Keep those banjos rolling and always be confident and enjoy it when you play.

JULY 2000 EDITION

Hello, once again. Let’s jump right in this month and talk about “repetition” on your playing. People ask me all the time how I can play so many songs without everything starting to sound alike in my playing. First, I’d like to mention that I learned to play banjo by ear. I listen to the melody line and work the tune out in my head. I call it “mind over matter.” I make the distinction between the two processes of learning a tune: getting it in your head and then applying it to the banjo versus learning a tune from tablature or sheet music. I’m not opposed to any method of learning a new tune as long as you learn the melody first and then advance to variations of your own “thing” as you move forward with tune. I can only say for myself that learning to play by ear comes natural and easier for me. I do read and appreciate tablature. As a matter of fact, I have a tab book available that covers the songs on my “Classics For Banjo” recording.

By playing repetitiously (the same licks, the same backup, etc.) the tunes can sometimes run together. You may feel that you become stale or it may seem to become boring. Let’s address the fact that we can never learn too much. This is why I think that it’s important to learn the melody of a tune. By building variations upon the melody, you can add excitement and feeling to your music in order to make it more interesting and fun.

Yes... there are similar chord structures and tunes that appear to have the same three (i.e. G, C, and D) changes. But, repetition in your playing can be changed. While working with Jim & Jesse and the Virginia Boys, I learned a very valuable lesson. At that time we did not carry a fiddle player in the group. We had Jim and Jesse on guitar and mandolin, the late Keith McReynolds on electric bass and Allan Shelton on five string dobro. Jesse sometimes played fiddle in the group and Allan and I played twin banjos. Allan would lead and I would play harmony parts. One thing that this band configuration accomplished was having the soft toned five string dobro play all the fiddle parts and I played the banjo breaks. The five string dobro and banjo are played alike. The tones were very unusually different, but nice. I would sometimes play with a capo positioned to provide a different voicing for the same key in order to cause a variation in the sound from the two banjo parts. We would still split our backups, and it all became very challenging. It had a unique blend for which this band configuration is still complimented today.

Whether you’re in a band situation, a good ol’ jam with two banjos, or picking by yourself, you may create variation in your sound by using another chord structure or a capo. The same C,G,A, versus a capo at the 2nd fret (A position), C,F,G position. I personally do not like to capo above the C (5th fret), simply because I like to play as many open strings or lower notes as possible and the banjo has more brightness as you go up the scale and neck. This is only my preference and makes me play more open chord voicings. It caused me to become more creative while playing, for example, a D position E and tuning up my 5th string instead of playing with a capo at the 4th fret (B) in a C chord position. You can experiment with “same chord, new structure” playing. Look at various techniques for managing repetition as building blocks in your playing and become innovative in developing your own unique style. “Til next time... Mike

Editors Note: You’ve seen and heard Mike playing banjo with Carl Story, Jim & Jesse, and Danny Davis & The Nashville Brass. Now, catch Mike with his band and on his latest release on Maple Street Music, entitled Foggy Mountain Breakdown. Available worldwide where fine music and gifts are sold. Visit Mike’s web site at http://www.mikescottmusic.com E-mail comments and questions to mscott@mikescottmusic.com TOP

JUNE 2000 EDITION

I hope everyone is doing well and enjoying summer. It’s finally here. Acoustic music and especially banjos are ringing in loud and clear with the festivals and music events starting up. This month I would like to address banjo head tension. Last month we covered various qualities of a banjo and touched on some of the elements which make your banjo sound its best. Needless to say, banjo head tension definitely affects the tone of a banjo.

First, choosing the appropriate banjo head, crown size, etc. determines what sound you will get. If you are unfamiliar with crown size, it is simply the height of the actual head. It should fit, not only on the circumference of you banjo, but also the appropriate height of the tension hoops. There are low, medium and high crown heads available. For example, my Gibson Granada uses a high crown.

After the head has been placed in position on the tone ring, the brackets are tightened against the flange and the tension hoop. You are now on your way to adjusting and tuning the head or tightening the head. Of course, no two banjos are going to sound exactly alike. The amount of tension on the head can make your banjo sound different. The tighter the head gives a brighter the tone. The looser the head yields a lower tone. These are actually the type of decision and preference of sound that you, the banjo player, will need to make. I’ll get into more detail in future issues on head tuning techniques.

When I replace the head on my banjo, I gradually tighten it as it stretches due to tension. Taking a banjo in and out of the elements, for example, dampness, humidity, sunlight, etc. will cause the head tension to change. Use of your banjo will help settle the head. It will settle more quickly or slowly depending, of course, upon how much you play it. So, play your banjo.

There are different styles of banjo heads to choose from. For example, the various brands such as Weather King, 5-star and Waverly, each provide a different sound. The different types of finishes on the head such as frosted, non-frosted (slick) or calf skin, also make a big difference, as well. I’m sure there are other plastic banjo heads available than I’ve mentioned. I prefer a Weather King, high crown, frosted head.

I can only add that you are your own judge on how you like your banjo set up. It’s always good to learn all you can from others on the subject. Remember, once you get yours setup the way you want it, leave it alone. Too many people mess up the tone of their banjo by continually “adjusting it.” Until next time... keep on pickin. Mike

Editors Note: You’ve seen and heard Mike playing banjo with Carl Story, Jim & Jesse, and Danny Davis & The Nashville Brass. Now catch Mike with his band and on his latest release on Maple Street Music, entitled Foggy Mountain Breakdown. Available worldwide where fine music and gifts are sold. Visit Mike's web site at http://www.mikescottmusic.com E-mail comments and questions to mscott@mikescottmusic.com. TOP

MAY 2000 EDITION

Since this is my introduction to the friends and subscribers of Acoustic Nashville, I must say a special hello and welcome to the readers of this traditional banjo column. I have named this column “Serving up Banjo” because that is what each and every one of us try to portray when we pick up our banjos and play with excitement, zeal and to the best of our abilities.

I’ve had banjo players come up to me on many occasions and often, “what kind of banjo are you playing?” is the first question they ask. This is a valid question that I have found coming from banjo players at all levels. It’s an open door for getting to know one another. But, moreover, I’ve learned that the majority of banjo players are really asking; “why doesn’t my banjo sound like that?” or “What can I do to make my banjo project more and have better tone?”

These questions are very important. It’s good to know that players are looking to get the best sound out of their banjo. In answering these questions, we’ll touch on the different factors that affect the banjo sound. We’ll touch on topics including setup, tone, string gauge, the bridge, your right hand (achieving quality picking tone), arch top vs. flat head banjos, mic techniques, style, drive, tuning etc. All of these issues are important in getting the best sound from your instrument.

As for my choice, I currently play a 1987 Gibson Granada. I can remember starting out on an inexpensive banjo that my dad had bought me. It was a very good banjo to begin the learning process. Looking back, it wouldn’t compare favorably to my Granada. As we come to expect more from ourselves in playing, it becomes increasingly important to eventually graduate up to a better Instrument. Cost factors are very important as we all know. But, there are many banjos out there, new and used, to fit almost any budget.
As we go forward, it’s always great to learn more on how to get the best out of your instrument. Let’s remember, though, once you’re satisfied with the set up, leave it alone and enjoy.

Time’s up. This is Mike saying, until next time, “serve up your banjo to the best of your ability. Practice does make perfect.