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.