For enthusiasts of early banjo
Stroke vs. Thimble playing, according to Clarence Partee, 1895.
Practical Hints on Modern Banjo Playing,
By Clarence L. Partee.
No. 5. Stroke Playing and Modern Thimble Playing.
_______________________________________
Since the introduction of classical music upon the banjo, “stroke playing” has fallen into disuse to a great extent, but in our opinion should not be altogether abandoned, because of the characteristic effects that may be obtained by its use. At a much earlier period than the advent of players of the modern classical school, when waltzes, marches, operatic melodies, etc., were first written and arranged for the instrument, many performers had ceased to practice stroke playing entirely, realizing that the method could not be used effectively to render high class music, and that an era of advancement in the art of banjo playing was at hand. A few players however continued to practice the original style as well as modern “thimble playing,” and the new “guitar style.” This has doubtless been of great benefit to them in broadening their knowledge, and the experience gained, as a proper understanding of all the styles and their various movements gives a performer an immense advantage over one whose knowledge is limited to one method only.
Many persons who play the banjo, as well as numerous musicians and players of other instruments, are apt to consider stroke playing as simply “noise,” owing to the hair-raising performances of the few would-be banjoists they may have heard perform with the thimble. This is only another of the popular errors in regard to the banjo, and banjo music. Stroke playing, when properly executed, is pleasing and effective, and may be used at times with the guitar style in occasional passages of the best music to advantage.
Most writers of banjo music and books describe stroke playing and thimble playing as one in the same thing, whereas they are two separate and distinct styles, and entirely different from each other. Some may contend they are the same, but modern thimble playing as practiced and taught by the author, and some of the best performers of that style for years, is essentially different. Explanations of both methods follow:--Stroke playing is the original method of playing the banjo, and is executed with the right hand, with the fingers partly closed, the first finger in advance of the others so it can be used to strike the strings, the thumb always resting against and supporting the first finger, except when it (the thumb) is used to strike a string or in preparing to strike one. The hands and fingers must be kept from touching the “head” and perfectly free, the arm resting on the “rim” as usual. The strings should be struck with the nail of the first finger and ball of the thumb, the finger and thumb being used alternately on all the strings generally, except the fifth, which is always struck with the thumb, and the first which is always struck with the first finger. The hand should swing freely from the wrist, and with an up and down motion, so that when the first finger is used it will strike the strings directly on top. Do not attempt to get the finger between the strings to strike them sideways. This habit is the cause of beginners breaking so many strings. When the strings are struck on top a better tone is obtained, and there is no danger of breaking a string unless unusual force is applied.
The stroke style has always been principally used to play jigs, reels, and such tunes as the “Arkansas Traveler” etc, but by using the “drum roll” in connection with it—the same as in thimble playing, marches, quicksteps and many other selections can be successfully performed. Even waltz music can be executed in this manner. The drum roll usually precedes a chord, and is written in the form of “grace notes,” all the strings generally being struck separately in rapid succession, striking the full chord afterwards. It is executed by sliding the finger(or thimble when one is worn) over the strings from the bass, or third strings to the first, picking the first string open (which is invariably the last note of the roll) with the thumb, and striking the chord or note which follows immediately after. A waved line is placed under or over the notes to indicate the slide or roll. In alternating with the finger and thumb it often becomes necessary to strike two notes in succession with the thumb or first finger, sometimes more. It depends on the piece to be played. The rules given above are only the positive ones; exceptions are few, and those will readily suggest themselves to the learner after a reasonable amount of practice. Modern thimble playing differs from the stroke style essentially, because all the strings are struck with the thimble (which is worn upon the first finger) except the fifth which is struck with the thumb; Because the drum roll is used much more frequently and effectively, and also because the amount of practice necessary to enable one to strike all the notes in a rapid piece with the thimble, except those on the, permits a better touch and tone to be acquired. The position of the hand and the manner of striking the strings etc., is the same as in stroke playing, therefore all the rules already given are sufficient. Thimble playing may be executed without a thimble as well as with one, but if a thimble is used do not hammer the strings. Learn how to give the proper expression to the music you play, from the softest to the loudest required, but avoid extreme loud playing, and use good judgment in the degree of force applied. An expert thimble player gets a soft, even, clean tone that can scarcely be told from “picking.” For stroke playing a bridge of the usual width is best, but to get the best effects when using the thimble, a special bridge not more than 1 ¼ inches wide should be used.
It is a fact that many persons have become disgusted with the banjo in the past solely on account of hearing some of the incompetent stroke players referred to, whose anxious efforts to see how much “tone” they could obtain from a small banjo, often resulted in producing a horrible din, aptly compared by some writers to the sounds proceeding from a boiler factory in full blast. Happily, these exaggerated performances are seldom heard now-a-days, marked improvement in all branches of banjo playing and banjo making being the order of the times.
I would therefore advise moderation in stroke playing as in everything else pertaining to playing of any one style.
In concluding this sketch I would say that stroke or thimble playing like other methods and movements must be thoroughly practiced to attain proficiency, but the best results will repay those who study conscientiously.
Stroke playing has been much abused, but the fault was doubtless of the player in most cases, and not of the method. The saying that, “what is worth doing at all, is worth doing well,” applies especially to stroke or thimble playing because they are not effective unless the player is expert.
The guitar style of playing is unquestionably superior for rendering a majority of the music suitable for the banjo, but it is well to know something of stroke playing, and those who acquire a thorough knowledge of the methods, and can execute either thimble or stroke styles as they should be done, need have no reason to feel ashamed of their accomplishment, for although classical music is being performed more and more upon the banjo, and a higher ideal is being continually sought after by players, in technique and expression, the lighter music, and characteristic banjo effects will always be acceptable, when given in a refined and dignified manner.
The next chapter of the series will be on “Pertinent Points and General Information.”
_________________________________________________________________
From “The Cadenza,” published in Kansas City, Mo., May-June 1895.
By Clarence L. Partee.
No. 5. Stroke Playing and Modern Thimble Playing.
_______________________________________
Since the introduction of classical music upon the banjo, “stroke playing” has fallen into disuse to a great extent, but in our opinion should not be altogether abandoned, because of the characteristic effects that may be obtained by its use. At a much earlier period than the advent of players of the modern classical school, when waltzes, marches, operatic melodies, etc., were first written and arranged for the instrument, many performers had ceased to practice stroke playing entirely, realizing that the method could not be used effectively to render high class music, and that an era of advancement in the art of banjo playing was at hand. A few players however continued to practice the original style as well as modern “thimble playing,” and the new “guitar style.” This has doubtless been of great benefit to them in broadening their knowledge, and the experience gained, as a proper understanding of all the styles and their various movements gives a performer an immense advantage over one whose knowledge is limited to one method only.
Many persons who play the banjo, as well as numerous musicians and players of other instruments, are apt to consider stroke playing as simply “noise,” owing to the hair-raising performances of the few would-be banjoists they may have heard perform with the thimble. This is only another of the popular errors in regard to the banjo, and banjo music. Stroke playing, when properly executed, is pleasing and effective, and may be used at times with the guitar style in occasional passages of the best music to advantage.
Most writers of banjo music and books describe stroke playing and thimble playing as one in the same thing, whereas they are two separate and distinct styles, and entirely different from each other. Some may contend they are the same, but modern thimble playing as practiced and taught by the author, and some of the best performers of that style for years, is essentially different. Explanations of both methods follow:--Stroke playing is the original method of playing the banjo, and is executed with the right hand, with the fingers partly closed, the first finger in advance of the others so it can be used to strike the strings, the thumb always resting against and supporting the first finger, except when it (the thumb) is used to strike a string or in preparing to strike one. The hands and fingers must be kept from touching the “head” and perfectly free, the arm resting on the “rim” as usual. The strings should be struck with the nail of the first finger and ball of the thumb, the finger and thumb being used alternately on all the strings generally, except the fifth, which is always struck with the thumb, and the first which is always struck with the first finger. The hand should swing freely from the wrist, and with an up and down motion, so that when the first finger is used it will strike the strings directly on top. Do not attempt to get the finger between the strings to strike them sideways. This habit is the cause of beginners breaking so many strings. When the strings are struck on top a better tone is obtained, and there is no danger of breaking a string unless unusual force is applied.
The stroke style has always been principally used to play jigs, reels, and such tunes as the “Arkansas Traveler” etc, but by using the “drum roll” in connection with it—the same as in thimble playing, marches, quicksteps and many other selections can be successfully performed. Even waltz music can be executed in this manner. The drum roll usually precedes a chord, and is written in the form of “grace notes,” all the strings generally being struck separately in rapid succession, striking the full chord afterwards. It is executed by sliding the finger(or thimble when one is worn) over the strings from the bass, or third strings to the first, picking the first string open (which is invariably the last note of the roll) with the thumb, and striking the chord or note which follows immediately after. A waved line is placed under or over the notes to indicate the slide or roll. In alternating with the finger and thumb it often becomes necessary to strike two notes in succession with the thumb or first finger, sometimes more. It depends on the piece to be played. The rules given above are only the positive ones; exceptions are few, and those will readily suggest themselves to the learner after a reasonable amount of practice. Modern thimble playing differs from the stroke style essentially, because all the strings are struck with the thimble (which is worn upon the first finger) except the fifth which is struck with the thumb; Because the drum roll is used much more frequently and effectively, and also because the amount of practice necessary to enable one to strike all the notes in a rapid piece with the thimble, except those on the, permits a better touch and tone to be acquired. The position of the hand and the manner of striking the strings etc., is the same as in stroke playing, therefore all the rules already given are sufficient. Thimble playing may be executed without a thimble as well as with one, but if a thimble is used do not hammer the strings. Learn how to give the proper expression to the music you play, from the softest to the loudest required, but avoid extreme loud playing, and use good judgment in the degree of force applied. An expert thimble player gets a soft, even, clean tone that can scarcely be told from “picking.” For stroke playing a bridge of the usual width is best, but to get the best effects when using the thimble, a special bridge not more than 1 ¼ inches wide should be used.
It is a fact that many persons have become disgusted with the banjo in the past solely on account of hearing some of the incompetent stroke players referred to, whose anxious efforts to see how much “tone” they could obtain from a small banjo, often resulted in producing a horrible din, aptly compared by some writers to the sounds proceeding from a boiler factory in full blast. Happily, these exaggerated performances are seldom heard now-a-days, marked improvement in all branches of banjo playing and banjo making being the order of the times.
I would therefore advise moderation in stroke playing as in everything else pertaining to playing of any one style.
In concluding this sketch I would say that stroke or thimble playing like other methods and movements must be thoroughly practiced to attain proficiency, but the best results will repay those who study conscientiously.
Stroke playing has been much abused, but the fault was doubtless of the player in most cases, and not of the method. The saying that, “what is worth doing at all, is worth doing well,” applies especially to stroke or thimble playing because they are not effective unless the player is expert.
The guitar style of playing is unquestionably superior for rendering a majority of the music suitable for the banjo, but it is well to know something of stroke playing, and those who acquire a thorough knowledge of the methods, and can execute either thimble or stroke styles as they should be done, need have no reason to feel ashamed of their accomplishment, for although classical music is being performed more and more upon the banjo, and a higher ideal is being continually sought after by players, in technique and expression, the lighter music, and characteristic banjo effects will always be acceptable, when given in a refined and dignified manner.
The next chapter of the series will be on “Pertinent Points and General Information.”
_________________________________________________________________
From “The Cadenza,” published in Kansas City, Mo., May-June 1895.
Views: 100
Replies to This Discussion
-
Permalink Reply by Tim Twiss on
-
Stroke playing is the original method of playing the banjo, and is executed with the right hand, with the fingers partly closed, the first finger in advance of the others so it can be used to strike the strings, the thumb always resting against and supporting the first finer, except when it (the thumb) is used to strike a string or in preparing to strike one.
Also described in the Converse Analytical, as the Hammer Movenment, and Combinations.
Great post Carl.
-
Permalink Reply by Carl Anderton on
-
Yeah, Tim- Clarence Partee would have given you the teacher's pet award, I believe.
To be fair, the early method books don't seem to insist on a constant hammer stroke. Do we think Sweeney and Butler and all those guys always used a hammer stroke?
ps- in the third line of Tim's excerpt the word "finer" should read "finger." I changed it in my first post.
-
-
Great mystery, isn't it. Strangely, it never is mentioned until 1886, but is discussed as though it were common practice.
-
Permalink Reply by Trapdoor2 on
-
I love these excerpts from "The Cadenza", Carl. Keep 'em coming!
I think it (using the thumb to support the first finger or 'hammer stroke') is a more natural way of striking the strings than the unsupp0rted "clawhammer" method. As I have said, I have used it for many years...without knowing it had a name. I suspect the 'unsupported' style prevalent in today's OT playing styles is more due to some sort of "folk process" myth that mandates the use of the middle finger for playing.
I have been given a good bit of chiding over the years (usually in good humor from OT folks) for playing with my index. My most common response: "Well, my middle finger is disfigured, so I can't use it." And then I show it to them (rude gesture) "See?"
That usually gets a laugh. ;-)
-
Permalink Reply by Dan Gellert on
-
Pete Seeger recommends what you refer to as the "hammer stroke" in his book, and many oldtimers habitually played that way.
Though I never saw him myself, I've been told that Wade Ward (one of the very best IMO!) did so. Sounds like it to me.
As for the index finger vs. middle, I'm sure the majority of old traditional players (i.e. Kyle Creed, Fred Cockerham, etc.) favored the index , or (as also described in Seeger's book!) used both, with the middle finger playing only the first string. I play both of those ways myself, but NEVER with the middle finger alone.
About
© 2024 Created by John Masciale.
Powered by
