Roots music iconoclast Danny Barnes reveals his systematic approach to the banjo, with one-of-a-kind insights on improvisation, reading music, getting a good sound out of the banjo, rhythm and timing, and more.
Widely regarded as one of the most innovative and genre-bending artists in contemporary roots music, Danny Barnes’ musical interests are varied and adventurous, and he incorporates that versatility into his progressive approach to the banjo.
Although he demonstrates an appreciation for the history of the bluegrass, country, and folk music from which the banjo’s reputation was born, his inventive take on the instrument, using the banjo to play non-traditional music like rock, fusion, and jazz with electronic percussion and loop elements, is what truly separates him from his contemporaries.
He’s also one of roots music’s great songwriters and performers. “A good song has a way of speaking to everybody,” Danny says. “I have faith that more people are going to hear my songs, which is really what I have to offer. I’m not one of those virtuoso instrumentalists, I can’t compete with those guys, but the one thing I can do is write really good songs.” Part Southern gentleman, part humble artist, Barnes is being more than a bit self-effacing with this statement.
Danny has come to redefine the banjo’s perceived image in an eclectic career for which genre definitions have merely been a polite suggestion. From his early days as the driving force behind the impressive Austin Texas–based Bad Livers, a band of pioneering Americana missionaries, through a prolific solo career and the development of his trademark “Barnyard Electronics” project, a startling approach that incorporates digital technology and various effect pedals to stretch the tonal range of the instrument, Danny has always listened to his proudly offbeat inner voice.
Danny talks about the second roll he thinks is important to practice and have in your repertoire, the 1 2 1 5 roll, which allows you to move a melody up and down the banjo neck on the first string. With Notation/Tab
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Danny Barnes Banjo Lessons
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The Banjo According to Danny Barnes Danny talks about the things he’ll cover in his course, including improvisation, reading music, getting a sound out of the banjo, rhythm and timing, etc., and how they all fit into his system for approaching the banjo.
THE RIGHT-HAND STUFF
The Right-Hand Stuff, Part 1: The Forward Roll The engine of the banjo is the right hand, but as players advance, more attention is often paid to the left hand. On the banjo, if you have a good feel in the right hand, anything you play is going to sound pretty good. In this series of lessons, Danny looks at the right-hand and gives you advice on getting a good rhythm with your right hand. He starts by looking at a couple of rolls that are good to know, the forward roll and the 1 2 1 5 roll. In this video, he concentrates on the forward roll, showing you how to practice it with a metronome and get your rhythm smooth and even.
The Right-Hand Stuff, Part 2: The 1 2 1 5 Roll Danny talks about the other roll he thinks is important to practice and have in your repertoire, the 1 2 1 5 roll. The 1 2 1 5 roll allows you to move a melody up and down the banjo neck on the first string. Danny shows you how to do that on a tune like Alan Munde’s “Deputy Dalton” and how to practice the 1 2 1 5 roll with a metronome. He also shows you a variation that moves the middle-index finger alternation to the second and third strings (2 3 2 5) and third and second strings (3 4 3 5).
The Right-Hand Stuff, Part 3: Single-String Technique The third right-hand technique Danny talks about is called single-string technique, in which you alternate the thumb and index finger on one string. This technique is good for playing written melodies and scalar passages.
The Right-Hand Stuff, Part 4: Timing Danny talks about the importance of working with the metronome to hone your timing. He also talks about “feel,” how to push and pull the time, and the difference between “bluegrass time” and “blues” time. He demonstrates how to lock in with another player by playing with guitarist Scott Nygaard.
The Right-Hand Stuff, Part 5: Accompaniment Danny talks about getting a good sound and maintaining your feel when you’re accompanying someone. He’s joined by guitarist Scott Nygaard to demonstrate how Danny accompanies someone playing the traditional fiddle tune “Blackberry Blossom.”
Reading Music, Part 1 In this lesson, Danny talks about the importance of reading music notation on the banjo. He says, “It’s important to read, because it’s the language of music.” He starts by comparing tablature to notation, explaining that the difference is that with notation you’re looking at pitch values rather than the geography of the banjo neck. He also talks about the importance of learning the original melody of a piece, not just the banjo arrangement or some licks that someone might have added.
Reading Music, Part 2 In this lesson, Danny gives you some music to practice reading from notation, starting with a simple Hanon piano exercise and moving on to “Cripple Creek” (fiddle style). He also shows you how to move the melody to different octaves on the banjo.
Reading Music, Part 3: “Farm and Fun Time” Continuing his lesson on reading music notation, Danny gives you the music for David Grisman’s tune “Farm and Fun Time.” He walks you through the music and then gives you ideas for playing a banjo version of the tune, using different octaves, adding chords, etc.
Reading Music, Part 4: Multiple Octaves Using the first part of David Grisman’s tune “Dan’l Boone” Danny gives you ideas about fingering melodies in different octaves and positions on the banjo, playing melodies single-string style versus Keith (melodic) style, and how to find different ways to articulate a melody.
Fingerboard Logic, Part 1: Three Positions: A, F, and D The tuning of the banjo provides different places to play the same note, giving you lots of different options, which can be very helpful, but also potentially confusing. In this lesson, Danny reveals how he conceives of and organizes the banjo fingerboard. He starts by explaining how he boils the fingerboard down to three simple fingerings for chords and scales, which you can call A form, F form, and D form, based on the fingerings for those chords in first position. Then he shows you all those forms in the key of G, from open position to the top of the fingerboard.
Fingerboard Logic, Part 2: All 12 Keys and the Circle of Fifths Danny shows you how to find the A, F, and D forms in all 12 keys, starting in G and moving around the circle of fifths to C, F, Bb, etc.
Fingerboard Logic, Part 3: Scale Fingerings Danny shows you how to find scale fingerings based on the chord forms you’ve learned, and gives you some ideas for practicing scales in different keys.
Blues, Part 1: Tonality and Feel Danny talks about the blues component in his music, both in bluegrass and other music, including straight up blues. Early bluegrass had a large bluegrass influence, as can be heard in the mandolin playing of Bill Monroe and others. Danny has also listened to a lot of the older acoustic blues musicians, like Son House, Skip James, and Robert Johnson and this had a big influence on his own playing. A lot of blues guitar is played in open tunings, and Danny talks about how the banjo, being open tuned, can easily imitate some of the blues guitarists licks and feel. He shows you the blues tonality, which you can get by flatting the third and seventh of a major scale, and talks about playing with a swing and behind-the-beat feel.
Blues, Part 2: “The Hypothetical Blues” In addition to flatting the third and seventh, Danny talks about flatting the fifth and using some chromatic connectors in your blues lines. You’ll learn a tune called “The Hypothetical Blues” that demonstrates some of the chromatic lines he’s talking about.
Blues, Part 3: Swing and Jazz Blues Progressions Danny shows you a couple of blues chord progression and chord voicings that come from swing and jazz. He talks about noticing how the notes in the chord voicings change from chord to chord, and also talks about soloing over a Bb blues using the chord voicings as a guide. You’ll learn two progressions, one swing blues and one more modern jazz progression with 7b9 and m7b5 chords.
Clawhammer In this lesson, Danny shows you how to play clawhammer style banjo. The technique is a little counterintuitive if you’re used to playing with picks. In clawhammer, you pick down with your index finger on the strings. Danny starts by showing you the basic clawhammer strum pattern and then shows you how to play “Cripple Creek” with that pattern.
CLEAN UP YOUR PLAYING
Clean Up Your Playing, Part 1 In this lesson, Danny gives you lots of great advice about cleaning up your playing and improving the sound of the banjo. He starts by talking about making your hammer-ons and pull-offs clean, with some advice that he got from banjo great Alan Munde. He also talks about keeping your fingers down as you play to get chords to ring, demonstrating this by playing “Cumberland Gap” and “Dear Old Dixie.” He also talks about changing the tone of the banjo by moving your picking hand to different positions.
Clean Up Your Playing, Part 2 Danny starts this video by talking about playing with other musicians, in a band or jam session, and being aware of the volume of your banjo in different situations. He also talks about making sure your timing is precise—that you give quarter notes their full value, so they are exactly twice as long as eighth notes, for example—and that you make your bends to a specific pitch.
Clean Up Your Playing, Part 3 In this video, Danny talks about bringing the melody of a tune out above the accompanying arpeggios. He uses “Wildwood Flower” and “John Hardy” to show you how to emphasize the melody in your playing.
HOW TO READ MUSIC ON THE BANJO
How to Read Music on the Banjo Download Danny’s hand-drawn and hand-written booklet “How to Read Music on the Banjo,” available exclusively to his Peghead Nation students. In his own inimitable way, Danny explains everything that banjo players need to know about reading music, including note values, standard notation, tablature, scales, fingering, and more.
Drop Thumb Drop thumbing is an important clawhammer banjo technique that allows you to get more melody notes and create different rhythms. Danny explains the technique, in which you bring your thumb down to play notes on the inside strings. He gives you a couple of exercises to get you used to drop thumbing and then shows you a version of “Cripple Creek” using drop thumbs. He also discusses some of the nuances of clawhammer playing in general, including phrasing and string gauges.
Banjonics, Part 1: Exercises Holding a heavy banjo for an extended period of time can be taxing and even, as you get older, debilitating. In this lesson, Danny shows you a set of physical exercises he’s developed, based on Tai Chi, yoga, and stretching exercises, to strengthen your body. The exercises are designed to be easy, and Danny explains the importance of making sure you never hurt yourself as you do them. There are eight parts and three foot positions. Before going through the exercises, he shows you the three foot positions. Then he explains each part in detail.
Banjonics, Part 2: Exercise Routine Once you’ve learned the Banjonics exercises, you can use this video to do the routine along with Danny.
THREE POSITIONS, TWO OCTAVES
Three Positions, Two Octaves, Part 1 Danny introduces you to his fingerboard concept of Three Positions, Two Octaves. One of the challenges of the banjo is finding the right place to play a melody. Danny shows you how learning to look at the banjo neck in two octaves at once helps you make good choices about where to play specific melodies. It also helps you with fretting-hand strength and improvisation. In this video, Danny shows you the three major scale forms, using the G major scale, in two octaves.
Three Positions, Two Octaves, Part 2 Once you’ve got the three forms of the major scale in both octaves, Danny gives you some more exercises to work on. First, he shows you how to practice the positions in every key, using the circle of fifths, and then he gives you a scale practice pattern you can use for all three positions in two octaves.