DaveM
Jun-16-2016, 2:56pm
Here is virtual version of a 90-minute workshop on Bluegrass Banjo Backup Basics that I have conducted at several bluegrass festivals in the past few years, most recently at the CBA festival in Grass Valley, Calif. on Father’s Day weekend.
The workshop has gone over very well. I suspect this is because many beginning and even some intermediate players focus much more on playing leads rather than on playing backup. However, as Earl Scruggs once replied when he was asked what he thinks about when he is performing, “I mostly think about playing the backup, because that is what I am doing 95% of the time.”
There is a lot to playing good backup, because it is the backup that gives each song its feel or rhythmic “groove”. In traditional bluegrass the “groove” is called “drive”.
It is my belief that effective backup bluegrass banjo is much simpler than some people make it out to be. There are many courses available on backup banjo. However, I believe that these basic building blocks cover about 80% to 90% of what you need for effective bluegrass backup—depending on how complex you want to get. For example, Ralph Stanley’s backup style was simpler than Earl Scruggs—but just as effective.
In the workshop, I cover:
1. Principles of Banjo Backup
2. Chord Patterns & Positions: Connecting the dots
3. Minimalist Backup: "Less is more!"
4. Rolling Backup
5. Basic backup "licks": The Big Three Earl Licks
On the audio-clips, I try to explain how to think about banjo backup, what to listen for when you’re listening to Earl Scruggs’ backup, etc.
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1. Principles of Bluegrass Banjo Backup
Earl Scruggs says: "In backing up, my full intention is to fill in the details while the featured artist is pausing for his or her next line". (“Earl Scruggs & The Five String Banjo”, 1968, pg. 70)
- Remember, you are in the background, supporting the vocalist or other instrumentalists.
- Always try to enhance what the band is doing, especially rhythmically.
- The banjo needs to drive the rhythm in traditional bluegrass—not just follow along. Listen carefully to: Flatt & Scruggs: "Complete Mercury Recordings", "At Carnegie Hall", “Don’t Get Above Your Raisin’”, for examples of Earl’s backup.
- Vary your backup. Listen to Earl Scruggs and observe how he varies his backup from verse to chorus in one song. Listen to how he varies his backup from song to another to achieve a different feel or groove.
- Trade off the backup with other instruments; listen to how Earl interacts with the fiddler on the early recordings (especially before the Dobro was added to the band around 1955)
- Learn some different styles of backup (Scruggs, Crowe, Stanley, etc.) and use them appropriately.
- Reduce your volume when you are playing backup! Banjos are very loud-- mind where you aim & watch your distance from the mic or others in the band or in a jam session. Don’t blast the vocalist or other instrumentalists with loud backup.
- Pay attention to where your picking-hand is positioned on the head to reduce the volume when playing backup.
- If you’re onstage, step back from the mic 2 to 3 feet to reduce the volume when playing backup.
Listen to the audioclip for examples. Here is the link to those:
https://soundcloud.com/davem538/sets/bluegrass-banjo-backup-basics/s-cb0vO
I hope you find this overview of bluegrass banjo backup basics helpful.
- Dave
The workshop has gone over very well. I suspect this is because many beginning and even some intermediate players focus much more on playing leads rather than on playing backup. However, as Earl Scruggs once replied when he was asked what he thinks about when he is performing, “I mostly think about playing the backup, because that is what I am doing 95% of the time.”
There is a lot to playing good backup, because it is the backup that gives each song its feel or rhythmic “groove”. In traditional bluegrass the “groove” is called “drive”.
It is my belief that effective backup bluegrass banjo is much simpler than some people make it out to be. There are many courses available on backup banjo. However, I believe that these basic building blocks cover about 80% to 90% of what you need for effective bluegrass backup—depending on how complex you want to get. For example, Ralph Stanley’s backup style was simpler than Earl Scruggs—but just as effective.
In the workshop, I cover:
1. Principles of Banjo Backup
2. Chord Patterns & Positions: Connecting the dots
3. Minimalist Backup: "Less is more!"
4. Rolling Backup
5. Basic backup "licks": The Big Three Earl Licks
On the audio-clips, I try to explain how to think about banjo backup, what to listen for when you’re listening to Earl Scruggs’ backup, etc.
----------------------------------------------------------------------------------------
1. Principles of Bluegrass Banjo Backup
Earl Scruggs says: "In backing up, my full intention is to fill in the details while the featured artist is pausing for his or her next line". (“Earl Scruggs & The Five String Banjo”, 1968, pg. 70)
- Remember, you are in the background, supporting the vocalist or other instrumentalists.
- Always try to enhance what the band is doing, especially rhythmically.
- The banjo needs to drive the rhythm in traditional bluegrass—not just follow along. Listen carefully to: Flatt & Scruggs: "Complete Mercury Recordings", "At Carnegie Hall", “Don’t Get Above Your Raisin’”, for examples of Earl’s backup.
- Vary your backup. Listen to Earl Scruggs and observe how he varies his backup from verse to chorus in one song. Listen to how he varies his backup from song to another to achieve a different feel or groove.
- Trade off the backup with other instruments; listen to how Earl interacts with the fiddler on the early recordings (especially before the Dobro was added to the band around 1955)
- Learn some different styles of backup (Scruggs, Crowe, Stanley, etc.) and use them appropriately.
- Reduce your volume when you are playing backup! Banjos are very loud-- mind where you aim & watch your distance from the mic or others in the band or in a jam session. Don’t blast the vocalist or other instrumentalists with loud backup.
- Pay attention to where your picking-hand is positioned on the head to reduce the volume when playing backup.
- If you’re onstage, step back from the mic 2 to 3 feet to reduce the volume when playing backup.
Listen to the audioclip for examples. Here is the link to those:
https://soundcloud.com/davem538/sets/bluegrass-banjo-backup-basics/s-cb0vO
I hope you find this overview of bluegrass banjo backup basics helpful.
- Dave