Alfred’s TeachYourself To Play Banjo
Alfred’sTeach YourselfTo Play BanjoMORTY MANUSRON MANUSEverything you need to know tostart playing the 5-string banjo now!TNT 2 SYSTEM REQUIREMENTSWindowsMacintoshXP, Vista, 7, 8QuickTime 7.6.7 or higher1.8 GHz processor or faster1.1 GB hard drive space2 GB RAM minimumSpeakers or headphonesInternet access for updatesOS 10.4 and higher (Intel only)QuickTime 7.6.7 or higher1.1 GB hard drive space2 GB RAM minimumSpeakers or headphonesInternet access for updatesAlfred MusicP.O. Box 10003Van Nuys, CA 91410-0003alfred.comNo part of this book shall be reproduced, arranged, adapted, recorded, publicly performed, stored in a retrieval system,or transmitted by any means without written permission from the publisher. In order to comply with copyright laws, please apply forsuch written permission and/or license by contacting the publisher at alfred.com/permissions.Copyright MMXIV by Alfred MusicAll rights reserved. Printed in USA.ISBN-10: 1-4706-1531-2 (Book & Online Video/Audio/Software)ISBN-13: 978-1-4706-1531-4 (Book & Online Video/Audio/Software)Audio recording performed by Scott Linford.Cover photo courtesy of Gibson USA
2 TEACH YOURSELF TO PLAY BANJOCONTENTSGetting StartedStrum No. 5 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 32A Short History of the Banjo . . . . . . . . . . . . . . . . . . . . . . . . . . 3Skip to My Lou . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 33The Five-String Banjo . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4Strum No. 5 (continued) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 34The Hands . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5Hand Me Down My Walkin’ Cane . . . . . . . . . . . . . . . . . . . . . . 34PicksThis Land is Your Land . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5Tightening the Head . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5 Holding the Banjo . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6Strum No. 6 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 36Tuning Your Banjo . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6The A7 Chord . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 36Tuning to a Piano or Other Keyboard . . . . . . . . . . . . . . . . . . . 7Aura Lea . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 37Tuning to a Pitch Pipe . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7Strum No. 7 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 38Tuning to a Tuning Fork . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7The Cowboy’s Dream . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 38Tuning by Ear . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7Strum No. 8 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 40Using an Electronic Tuner . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7New River Train . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 41Caring for your Banjo . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8Buying a Used Banjo . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8Starting to Play Chords . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9Playing the G Chord . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9Strum No. 9 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 42Daisy Bell (A Bicycle Built for Two) . . . . . . . . . . . . . . . . . . . . 42Melody Playing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 44Goodnight Ladies . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 45Playing the D7 Chord . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11My Home’s Across the Smoky Mountains . . . . . . . . . . . . . . . 46Getting Acquainted With Music . . . . . . . . . . . . . . . . . . . . . . . . . . . 12 MINI MUSIC LESSON: Ties . . . . . . . . . . . . . . . . . . . . . . . . . . 14Down in the Valley . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14 MINI MUSIC LESSON: Eighth Notes & Rests . . . . . . . . . . . . 15Go Tell Aunt Rhody . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15 MINI MUSIC LESSON: Pickup Measure,Dotted Quarter Note . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16Cockles and Mussels . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16Clementine . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17Strum No. 1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18 MINI MUSIC LESSON: D.C. al Fine . . . . . . . . . . . . . . . . . . . . 19Tom Dooley . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19MINI MUSIC LESSON: The Arpeggio . . . . . . . . . . . . . . . . . . 36Lolly Too Dum . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 47 MINI MUSIC LESSON: Hammering-On . . . . . . . . . . . . . . . . 48Come and Go with Me . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 49 MINI MUSIC LESSON: Pulling-Off . . . . . . . . . . . . . . . . . . . . 50Cotton Eyed Joe . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 50Strum No. 8b . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 51The Old Gray Mare . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 51Bluegrass . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 52Bluegrass Roll No. 1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 52Black Eyed Susie . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 53Bluegrass Roll No. 1a . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 53Strum No. 2 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20Old Joe Clark . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 54Old Paint . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20Bluegrass Roll No. 2 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 55The C Major Chord . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22Little Maggie . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 55When the Saints Go Marching In . . . . . . . . . . . . . . . . . . . . . . 23 MINI MUSIC LESSON: C Tuning . . . . . . . . . . . . . . . . . . . . . . 56On Top of Old Smokey . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24The Wabash Cannonball . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 57Oh! Susanna . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25Home on the Range . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 58Strum No. 3 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26Strum No. 10 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 59Strum No. 4 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26 Worried Man Blues . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 27MINI MUSIC LESSON: Transposition . . . . . . . . . . . . . . . . . . 60The Capo. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 61The G7 Chord . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28What to Do About the 5th String . . . . . . . . . . . . . . . . . . . . . . . . . . 61Jesse James . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28Chords in G Tuning . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 62She’ll be Comin’ Round the Mountain . . . . . . . . . . . . . . . . . . 30Chords in C Tuning . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 63Red River Valley . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31Fingering Charts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 64
TEACH YOURSELF TO PLAY BANJO 3NGGETTTI EDSTARA SHORT HISTORY OF THE BANJOThere are four types of banjos incommon use: the four-string, shortneck tenor; the four-string long-neckplectrum; the six-string banjo tunedlike a guitar; and the one this bookwill teach you how to play, the fivestring banjo.Banjos were brought to America byWest Africans who played aninstrument called the bania. They mayhave adapted the bania from similarstringed instruments they heard theArabs playing. The bania has severalstrings stretched over a wooden neckand hollow gourd, which acted as aresonator. Early in the developmentof the instrument its resonance wasimproved by slicing a piece off theside of the gourd and stretching ananimal skin over the resulting hole. Itis this skin (now usually made ofplastic) that gives the banjo itscharacteristic bright, “snappy” sound.The earliest American banjos thatstill exist date from about 1830. Soonafter that an important improvementand a brilliant innovation permittedplayers to reach the heights oftechnique previously unheard of: theimprovement was the addition offrets (which early banjo makersborrowed from the guitar andmandolin) and the innovation wasthe addition of a fifth string. Unlikethe four longer strings, however, thefifth string is a short drone string,which means that no matter whatelse is being played, the fifth stringalways sounds the same note, eitherthe root or the fifth of the key. Onepossibility is that this innovation wasan attempt by American banjoplayers of Scottish-Irish ancestry toimitate the sound of the bagpipe**Bagpipes have one or more drone pipesthat sound the same note regardless of whatelse is being played. The melody is playedon different pipes, called chanters. Themodern banjo player gets a comparableeffect by playing the melody on the fourlong strings while the short fifth stringcontinually sounds the same note.which was such an important part oftheir musical culture. Thereis also evidence the fifth stringdates back to the instrument'sAfrican roots.Surprisingly, the five-string banjo wasoften used in the 19th century forplaying classical melodies. There ismuch printed music from the period1875 to about 1910 that proves thatthe instrument was in great demandfor this purpose. (To hear what thissounded like, listen to the historicrecordings of banjo virtuoso Fredvan Epps, who recorded before thefirst World War.)Although it had always been popularas a folk instrument, the banjo reallycame into its own with thebeginnings of bluegrass music in thelate 1920s. The basic bluegrass bandconsists of five instruments: fiddle,mandolin, bass, guitar and five-stringbanjo. (It is said that the earlybluegrass musicians were usingstringed instruments to imitate thesounds of Dixieland jazz they heardon radio.)Bluegrass soon became anindependent, important and excitingpart of the American music scene.Banjo pickers like Earl Scruggs, DonReno, Bobby Thompson and manyothers brought the instrument tonew heights of virtuosity, andinnovators like Dick Weissman andthe incredible Bela Fleck continue topush the boundaries of what theinstrument can do.In this book we will give you athorough grounding in the basics offive-string banjo playing. No matterwhether your interest lies inbluegrass, folk, jazz or even classical,the fundamentals of playing theinstrument are the same. Aftercompleting Teach Yourself to Play5-String Banjo, you’ll be on your wayto becoming an excellent player inyour favorite musical style!Earl Scruggs, here with his partner Lester Flatt and their band, is famous for his three-finger style ofplaying. He also invented the “Scruggs peg,” a device used for making quick changes in tuning of Band G strings. Photo courtesy of Country Music Foundation.
22 TEACH YOURSELF TO PLAY BANJOThe C Major ChordThe C chord, along with the G and D7 chordsyou have learned, comprise a group of threechords called the principal chords in the keyof G . Using only these three chords you canaccompany literally thousands of folk, country,blues and other songs .Co213122If a chord symbol does not have “7,” “min .”or some other abbreviation after it, it is alwaysa major chord . Thus G and C are both majorchords . Here’s how to play the C major chord:Finger the C chord as shown above . Then play the strings one at a time to make each one sound clear . No buzzes ordull thunks, please! Once you can play the C chord perfectly, practice the first exercise in using Strum No . 1 . Thenuse Strum No . 2 to play the second exercise .Track 1741 .& 4 C ’ ’ ’ \ C ’ ’ ’ \ C ’ ’ ’ \ C ’ ’ ’ \ C ’ ’ ’ \ C ’ ’ ’ \ C ’ ’ ’ \ C ’ ’ ’Track 1832 .& 4 C ’ ’ \ C ’ ’ \C’ ’ \C’ ’\C’ ’\C’ ’ \C ’ ’ \C ’ ’The following exercises will train your fingers to change chords smoothly . Keep a steady beat . This is veryimportant . If you have a metronome, set it at 60 beats per minute and play through the exercises using the basicstrum (striking down on the strings with the fingernails of the right hand) . When you can do this smoothly,without hesitating or missing a beat, gradually increase the tempo until you can play the exercises at 120 beatsper minute (marching beat) .Track 1941 .& 4 G ’ ’ ’ \ G ’ ’ ’ \ C ’ ’ ’ \ C ’ ’ ’ \ G ’ ’ ’ \ G ’ ’ ’ \ D7 ’ ’ ’ \ C ’ ’ ’ \D7’’’\C’’’\G’’’\G’’’Track 2032 .& 4 G ’ ’ \ C ’ ’ \G’ ’ \CTrack 21D7’ ’ \’ ’ \G’ ’\G’ ’ \GD7’ ’\’ ’C’ ’ \ G ’ ’ \ D7 ’ ’ \43 .& 4 G ’ C ’ \ G ’ C ’ \ G ’ C ’ \ G ’ C ’ \ C ’ D7 ’ \ C ’ D7 ’ \ G ’ C ’ \ G ’ C ’ \D7’C’\D7’C’ \G ’C’\G’C’\G(strum and hold)After you can play the above exercises using the basic strum, try the two exercises in using Strum No . 1 and theexercise in using Strum No . 2 .
TEACH YOURSELF TO PLAY BANJO 35oThis folk classic is a perfect song onwhich to play Strum No. 5. Play itwith good spirit and a solid beat.oGoThe chords used in this song are:D7Coo21o32o1G7ooo3112223This Land Is Your ModeratelyD7## C&## CC&&# CC&&Track 377## CC &## CC &C& # your&& �’’’&uh ’2’&uh ’2’ ’& uh 2& uh 2& uh 2- 2-##&## œœ&&# thisœœ&& thisœ land 3/23/23/2this3/2thisœœœœœ nia D7D7D7D7D7 est2/1estestlandVerse:landlandGthis C 2for& uh& uh& uh 2/12/12/12/1your2/1your for œœœœœœœœœwaswaswasC was& uh 2& uh 2& uh &uh ’2’&uh ’2’ ’landœœ œœœ œœœœtheœthe NewNewtototototototototoD7D7D7D77D4/4œœ .œœ adethat rib-bon of high-way’’’\’’’\that gold-en val - 44/4you4/4you4/4youG’you-isGGGGG wa d’\\D7’’’’’Words and3/03/03/0This3/0This3/0This land. œœœœœ land. G7G7G7G7G7œœœœœ ters, GGGGG3/03/03/0me.3/0me.3/0me.meThis m4/0From3/03/03/0Cal3/0Cal3/0CalFromœœ œœœœ œœFromœ theœCal 2/0i-i-œœ œœœœ œœredœœ - wood3/03/03/0From3/0From3/0From3/23/23/2 red3/2 red3/2 red2/02/02/0wood2/0wood2/0woodthethetheG From the red - woodGGGGGGGGG’\’ ’ ’ \This land ��œœ’This’ œGGGGGD7 ’me.’I saw a - boveG ’’’’’’’’Chorus:G 7 Chorus:7 Woody GuthrieMusicGbyChorus:G 7 Chorus:G 7 �’’’land.land.land.land. is orœfor’ ’ ’ made\ G’’’for \C my thethethethe Gulf & uh& uh& uhœœ œœœœ œœthe Gulf Streamœ œAs I was walk-ingI saw be - low me’’’&uh’&’uhthethethe New \œœœœœG’’’\’that end-less sky - way,D7’ ’ ’ \G’’’\G \\made for you and me. (Repeat Chorus)TRO Copyright 1956 (renewed), 1958 (renewed), 1970 Ludlow Music, Inc. New York, New York. Used by Permission.
50 TEACH YOURSELF TO PLAY BANJOMINIICMUS ONLESSPULLING-OFFA complementary technique to hammering-on iscalled pulling-off . It, too, can be used to enhanceaccompaniment or melody picking . Here’s how todo it .Use the third finger on the left hand to finger thefirst string, third fret . Pick the first string with theindex finger of the right hand . This produces thenote F . Now, without using the right hand, pull thethird finger away from the fingerboard so that theopen first string sounds . You can’t just pick up thefinger; you must pull it sideways so that the openstring sounds clear .Once you can pull-off on the first string, try itwith various other notes, such as the secondstring, third fret; the third string, second fret; thefourth string, second fret . We’ll use the letter “P”to mark the places where a pull-off is desired .Try this new technique on an old square dancetune . It uses pulling-off and, in a few places,hammering-on . Also notice that the B note isplayed in an alternative place—the third string,fourth fret . But use the third finger to play it .Pete Seeger, who has composed over 100 songs, uses a straightforward melodicand harmonic style . Although an accomplished banjo player, Seeger emphasizedthe functional supportive accompaniment of the banjo rather than its virtuosity .Photo courtesy of Country Music Foundation.Cotton-Eyed JoeTrack 52American Square Dance TuneNo chords are used in this arrangement .#& ##&&24224 œ œ œœ œ œœ œ4 œœ œœ œ œœ œ œœP4/03/04/04/03/03/0#& ##&&3/04/04/03/03/03/4 3/0 3/4 3/03/4 3/0 3/4 3/03/4 3/0 3/4 3/0. œœ P œœ œ Pœ œ. œ œ œœ œœ œœ1/21/21/21/01/01/03/23/4 3/0 3/4 3/03/4 3/0 3/4 3/03/4 3/2 3/03/4 3/2 3/03/4 3/2 3/02/03/23/22/02/0œ œœœœ 1/51/51/52/12/1Pœ œ œ œœœ œ œœ œ œœ œœ œœœ œ2/1œ P œ œœœœ œœ œ1/2Pœ œœœœ œœœœ3/4 3/0 3/4 3/0PP#& ## œ œ œœ œ œœ œ&& œœ œœ œ œœ œ œœ4/0P4/03/04/04/03/03/03/4 3/0 3/4 3/03/4 3/0 3/4 3/03/4 3/0 3/4 3/0œ P œ œ P Hœœœ œœ œ œ œ œœ œœ œœ œ1/21/21/21/01/01/03/4 3/2 3/0 3/43/4 3/2 3/0 3/43/4 3/2 3/0 3/4œ P œ œ P Hœœœ œœ œ œ œ œœ œœ œœ œ1/21/21/21/01/01/03/4 3/2 3/0 3/43/4 3/2 3/0 3/43/4 3/2 3/0 3/4This is an example of pull-offs and hammer-ons used in solo melody playing .* This repeat sign means to go back and play again from the beginning .** This second repeat means to go back and play again from the earlier repeat .Pœ œ œ œœœ œœ œ œœœ3/2 3/0 4/23/03/2 3/0 4/23/2 3/0 4/23/03/0œ œ œ œœœ œœ œ œœœP3/2 3/0 4/23/2 3/0 4/23/2 3/0 4/23/03/03/0œ Pœ œ P œœœ œœ œ œ œœœ œœ3/2 3/0 4/2 4/0 3/03/2 3/0 4/2 4/0 3/03/2 3/0 4/2 4/0 3/0.*.**
recordings of banjo virtuoso Fred van Epps, who recorded before the first World War .) Although it had always been popular as a folk instrument, the banjo really came into its own with the beginnings of bluegrass music in the late 1920s . The basic bluegrass band consists of five instruments: fiddle, mandolin, bass, guitar and five-string banjo .
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Play is learning. Remember that imaginative play or pretend play is thinking play. Pretend play is thinking play because children need to think of what to play, use an object or objects as play props (using the object as a symbol in play is higher level thinking), incorporate a character in the play (like a teddy or doll),
MINI MUSIC LESSON: Three Major Scales . Mandolin Fingering Chart. 72 CONTENTS. . NAMING THE NOTES ON THE 1st STRING PLAYING THE NOTES ON THE 1st STRING Since the mandolin can play notes higher than those written on the staff, it is sometimes necessary to extend the five
Play types: Play types can be described as the different behaviours we can see when children are playing and there have been numerous attempts to categorise different types of play. Play theorist Bob Hughes describes each play type (social play, rough and tumble play, deep play, role play etc.) as 'both distinctly and
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