8 Essential Steps to Clawhammer Banjo Book

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8 Essential Steps to Clawhammer Banjo

aBrainjoProductionvideos at clawhammerbanjo.net/8steps

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About this Book

The following book is an accompaniment to the Clawhammer Banjo in 8

Essential Steps video series. You may access all the videos in one playlist at

clawhammerbanjo.net/8steps.

If you enjoyed this series of instruction and want to continue on your journeyof clawhammer banjo mastery, check out the Breakthrough Banjo course at

breakthroughbanjo.com.

The course is based on the BrainjoMethod of instruction, the first teaching

system to incorporate the science of learning and neuroplasticity and

specifically target the adult learner.

Learn more about the Brainjo Method at aboutbrainjo.com.

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Table of Contents

Lesson 1: The Basic Motion....3

Lesson 2: The Thumb Rest......11

Lesson 3: Striking Single Strings.......11

Lesson 4: Ringing the Fifth...........16

Lesson 5: Basic Fretting & Picking Patterns .........22

Lesson 6: Hammering On..............25

Lesson 7: Pluck Off.......31

Lesson 8: Sliding into Home......35

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Lesson 1: The Basic Motion

Welcome to the first lessonin the "8 Essential Steps to Clawhammer Banjo" lesson series. In this

first installment, I'm going to be covering what is the distinguishing feature of this style of playing,

which is the movement of the picking hand. For most of you, this is going to be your right hand.

I'm covering this first not just because it's what imparts this style with its defining sound, but also

because it's the thing that oftentimes leads to the most frustration for folks who are trying to learn

it. This is not because the motion is particularly difficult, but rather because folks get the wrong

impression or idea about what it should be.

So I want to make sure that you end up getting started off on the right foot, that you don't end up

developing a technique that will make it difficult for you to progress or that will be really hard to

unlearn later. And, as you move through this video, or any of the videos, if you have any questions

or comments, please feel free to leave them in the comments section. Ill be checking often and am

happy to answer any questions you may have.

The Shape of the Picking Hand

In some respects, everything that you need to know about the right hand, or the picking hand, in

clawhammer banjo is in the name itself. You basically put your hand into a claw-like shape, and

then you hammer down on the strings. Now, if you've ever played a stringed instrument before, or

even if you haven't, this may seem like an odd approach to playing. It's our natural inclination,

particularly when we're trying to strike individual strings, to try to do so by plucking up with our

fingers. This makes sense because we're able to make very precise movements with our fingers.

Fortunately, many years ago, probably in the continent of Africa, some brave and ingenious soul,

who was likely playing a banjo-like instrument, decided that he or she would instead try to strike

the individual strings not by picking upwards, but by striking down with the back of their nail

towards the ground. And surely this felt awkward at first, as it will feel to you, but over time that

person must've realized that you could teach yourself to become just as accurate at hitting

individual strings with the downpicking motion as you can by up picking. And, better yet, what

they also probably realized was that using this technique opened up a world of musical, and

particularly rhythmic, possibility that you just can't get using the up picking method.

So the first thing that I want you to do is start to get comfortable just with the shape that your hand

should be in when you're playing clawhammer. And here there are two points that I want you to

remember, or to think about.

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One is that the hand should be very relaxed. Muscle tension in general is the enemy of music,

and muscle tension in the hand with clawhammer banjo is going to lead to a lot of pain and

frustration. So the first thing is to make sure your hand is nice and relaxed.

I think some people get the idea that the strings are set in motion by keeping a very rigid hand

through the striking motion. Yet, the reality is the strings are set in motion not from a rigidhand, but from the momentum of the hand that's generated by the movement at the wrist. In

essence here the striking finger is really just along for the ride as it moves through the string.

Now you'll notice when I play my index finger actually sticks out a little bit. I'm actually striking the

strings with my middle finger, so my index finger really isn't doing anything. But the reason it's out

there is because that's simply the most relaxed position for my hand. If I were to try to bring it into

a more claw-like posture, it would introduce tension into my hand, and I don't want muscle tension.

So the point here is not that you should stick out your index finger like I do, but that you should be

mindful of how your hand feels, and mindful of the position where it feels the most relaxed.

The Hammer and the Strum

Okay, so in clawhammer banjo almost all of the movement youll be making is going be at the wrist.

And you can think of the wrist as having two primary degrees of freedom. You can either move it

side to side, as you would if youre shaking off some water from your fingers, or you can also move

it up and down, as you would when youre knocking on a door.

Most of time, the movement youll be making is the hammering motion, or the up and down

movement of the hand like youre knocking on a door. Sometimes, clawhammer is also referred toas knocking banjo, or rapping banjo, for this reason. And the hammering motion is the

motion youll be using to strike individual strings.

If youre strumming across multiple strings -- a technique many players use in their playing -- then

youll be moving your wrist in the side to side motion.

Now, the question that inevitably arises at this point is: what finger should I use to strike the

strings with? And here there are really two viable options. You can use your index finger, or you

can use your middle finger. And, generally speaking, clawhammer banjo players are divided

equally in these camps. So about fifty percent use the index finger, about fifty percent use themiddle finger, and about two percent use another appendage.

Personally, I use my middle finger, just because thats what I find more comfortable. And what Id

recommend you do when youre first starting out is just experiment with using the middle or the

index finger, and if one feels more comfortable than the other, just go with that. If they feel equally

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comfortable, or equally awkward, which is more likely, then maybe just choose your fate with a

coin toss.

Two Exercises

So Im gonna leave you with two exercises that I want you to get comfortable with before you move

on to the next lesson. And the purpose of these two exercises is to allow you to get familiar with the

two basic motions. So the first one well start with is the hammer motion.

So all I want you to do here is just practice the hammer motion on the first string.

The first string is the one thats closest to the floor, the fifth is the one closest to you. And just

practice striking down in a hammering motion. Dont worry here about being accurate. If you dont

just strike the first string, if you hit others, it doesnt matter. If you miss, it doesnt matter. Just

practice getting the basic idea of the hammering motion down. And one of the things I want you to

experiment with as you do this is how much force, or how little force, it actually takes to get asound out of the string. Youll probably be surprised at how little effort you have to exert to actually

make a sound. And if you can start out with a light touch from the beginning, then itll make

your life a lot easier down the road with this style.

The second exercise that I want you do is to just practice the strumming technique with the hand,

which is the side to side movement. Again, dont worry too much about accuracy here, whether or

not you hit two, or three, or four strings when you strum. I just want you to get the basic side to side

motion down as you strike the strings.

Okay, so those are the two exercises I want you to practice, the hammer and the strum, until youfeel comfortable with it. I think that any time youre learning a totally new technique or skill, that

about fifteen to twenty minutes a day of dedicated and focused practice on it is really all you need

to make progress. So, do that, and then once you feel like youve got it down, youve got it under

your belt, then youll be ready to move on to the second video.

Key Points from Video One

1. The motion picking hand is the defining feature of clawhammer banjo.

2. Virtually all of the movement of the picking hand occurs at the wrist, either in an up and down,

or hammering, motion, or in a side to side motion.

3. Choose whether to use your index or middle finger as your primary striking finger based on

what feels most comfortable.

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4. The hammering motion is the one youll use to strike individual strings, the side to side motion is

the one youll use to strum across multiple strings.

5. Practice the two exercises and get comfortable with them before moving to video 2.

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Lesson 2: The Thumb Rest

Welcome to the second lesson in the eight steps to clawhammer banjo video series. In the first

lessonin this series, I introduced you to the basic clawhammer motion of the picking hand, which is

the signature feature of this style of playing. And perhaps the single most important thing for you to

do when youre playing this style of music is to make sure you that you always keep that

clawhammer motion going. In this lesson, Im going to share with you what I think is the secret to

making sure youre always able to do just that.

Lets briefly review what I covered in the first lesson in this series. In that lesson, I mentioned that

most of the movement that youll be making with your picking hand in clawhammer banjo is going

to be at your wrist. And the main movement is an up and down, or knocking motion. Thats

what youll be using to strike the individual strings like this.

The second movement youll make is a side to side movement of the wrist, which is what you

use to strum across multiple strings. Hopefully youve been practicing both of those and youvegotten reasonably comfortable with them and are ready to move on to this lesson.

THE THUMB REST

So in todays lesson Im going to be covering what I refer to as the thumb rest. One of the signature

features of the five string banjo is the short fifth string itself, and most of the time in five string

banjo playing, that fifth string functions as a drone note. A drone note is simply a note that is

continuously sounded in the background in a piece of music.

I mentioned earlier that its important to always keeping our clawhammer motion going with our

picking hand, but, in addition, we also need to make sure were always keeping this fifth string

ringing as well. So how do we accomplish both those tasks? With the thumb rest, thats how.

So whats the thumb rest? Each time you make the clawhammer motion with your wrist, whether

its the up and down hammer motion, or the side to side strum, the flesh of your thumb comes to

rest against the fifth string at the end of that movement. The easiest way to make sure you do

this is to keep the thumb extended as you play.

Heres how your hand should look at the end of the initial clawhammer movement. Again, notice

that the flesh of the thumb is pressed against the fifth string:

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As I said earlier, I think the thumb rest is really the key to making sure you maintain a continuous

and fluid motion with your picking hand. Its the glue that maintains the clawhammer stroke as an

efficient and compact, two-step, motion.

What often happens to beginners is they inadvertently break up the motion into three steps. Theyll

strike with picking finger, and then theyll try to find the fifth string with the thumb, and then move

back to the starting position. This ends up making it hard for them to develop speed, and hard to

maintain a steady rhythm throughout their playing. And as I said before, keeping a steady rhythmis vital to the sound of clawhammer banjo. And I think its this inadvertent failure to develop or

learn the thumb rest that probably serves as the biggest impediment most folks face when learning

clawhammer banjo. Fortunately, thats not going to happen to you.

PREPARING FOR LESSON

So what I want you to do before the next lesson is to practice the thumb rest with both movements

of the picking hand, making sure that the flesh of your thumb comes pressed up against the fifth

string at the end of each movement. Once you get a little bit comfortable doing that, I want you to

practice both of these along with the metronome.

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For these exercises, I want you to play one clawhammer stroke for every two clicks of the

metronome, like this:

CLICK CLICK CLICK CLICK CLICK CLICK

STRIKE STRIKE STRIKE

Ive created a playlist for you(click to access) that has metronome clicks at different settings. And

what Id recommend you do as youre practicing the thumb rest is to start with the slowest

metronome setting I have on there, which is 80 BPM, and practice both the hammer and the strum

along with that one. As you get comfortable with it, move to the next fastest one, which would be 90

BPM, and continue to do that until you are able to play comfortably and in time using both the

hammer and the strum at the 140 BPM metronome setting. Once youre able to do that, youre all

set for the third lesson.

BUILDING THE FOUNDATION

I understand that playing along with the metronome like this may seem a little bit tedious, but as I

mentioned before, I think that getting the thumb rest right is one of the most critical pieces early on

when youre learning this style. And I also said in the introductory video that a little bit of patience

in the beginning as youre learning clawhammer banjo is really going to pay off in the long run,

which it most certainly will.

So practice the exercises that Ive covered here. If you have any questions or comments, please

leave them in the video comments section. Otherwise, Ill see you in lesson three.

Key Points from Video Two

1. A smooth and steady clawhammer picking motion is critical for building speed and a solid

rhythm

2. The thumb rest, where the flesh of the thumb comes to rest against the fifth string at the end of

the striking motion, is the key to keeping the clawhammer stroke efficient and compact.

3. Practice the thumb rest with the hammer and the strumming motion, first on their own, then

along with the metronome.

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4. Once youre able to perform both motions comfortably and in time with the metronome, youre

ready for video 3!

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Lesson 3: Striking Single Strings

Welcome to the third installment in the eight essential steps to clawhammer banjo video series. To

recap where we've come from so far, in the first lessonI discussed with you the two primary

motions of the picking hand, which are the up and down hammer motion and the side to side

strum.

In the next lesson, I introduced you to the concept of the thumb rest, which is that at the conclusion

of either of those motions, the thumb should come to rest pressed up against the fifth string.

Hopefully you've practiced the exercises from both of those videos, and are all set to proceed with

this lesson. As always, if you have any questions or comments regarding the materials as you work

through them, please feel free to leave that in the comments section of the video, and I'll be happy

to answer any questions you have.

GOALS

So in today's lesson, we're going to work on striking the individual strings with our picking finger.

And we have three main goals to accomplish when learning this particular skill. We want to be able

to:

1) Pick each string cleanly

2) Pick each string without looking at our hand.

3) Modulate the amount of force we use when we strike the string, which will allow us to

vary the volume of our playing.

Now, as you begin to work on the skill of striking single strings with your picking finger, you're

undoubtedly going to be inaccurate at first. You're gonna miss the strings, you're gonna hit the

wrong one, you're gonna hit multiple when you're trying to hit one. This happens to everybody

when they first get started. In fact, it's a bizarre idea to begin with to think that wed be able to

cleanly strike the single strings of the banjo just by moving our hand up and down. But, such a

thing is indeed possible just with a little bit of dedicated practice.

FRUSTRATION-FREE FRAILING

So don't get frustrated. Remember that most of the changes that occur in the brain to support any

new skill are going to happen when you're sleeping anyhow, based on what you've done the day

prior. So, the real goal of a practice session is not to improve right then and there, but rather to

give your brain the signal that you'd like it to change, and to tell it the way in which youd like it to

change - i.e. the skill that you want it to learn. So, if you put in a little bit of focused effort day in

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and day out, each day youll wake up a little bit better, and I think you'll probably surprise yourself

at how quickly you're able to learn something that at first may seem impossible.

To begin with, just try striking each individual string by itself - the first string, second string, third

string, and fourth string - with your picking finger. Almost certainly, you're going to find that

striking the first string is the easiest, simply because it only has one string next to it. And as youwork on striking each individual string, there are a couple of things that I'd like for you to keep in

mind.

1) Start out with a very light touch, and then gradually increase the amount of force

you give to the string. As I said in an earlier video, you'll probably be surprised at just how

little effort it takes to get a sound out of the string. If you're able to develop a light touch from

the beginning it's going to make your life a lot easier down the road, particularly as you try

to develop speed, and it also will allow you to vary the volume in the playing of any given

tune.

2) As you get a little comfortable with this technique, start experimenting some with not

looking at your picking finger when you play. Remember, ultimately we want to be able to

strike the strings with our picking hand without having to look at it at all. It may seem

somewhat counterintuitive, but you'll actually be able to develop accuracy more easily and

more quickly if you dont look at your hand than you will if you do. You dont have to do this

right away; however, over time as you get a little comfortable with it, start playing out

around with not looking at your hand as you're trying to strike the individual strings, until

you ultimately reach the point where you no longer have to at all.

It turns out that your brain is actually quite good at monitoring the position of your body, includingthe position of your hands, without any visual feedback whatsoever. And in fact these body to

brain feedback loops operate a lot faster than the vision to brain loops do, which means they're a

lot better suited to playing a musical instrument. It's no coincidence that some of the best musicians

we've ever known have lost their sight, and have had no choice but to use these better body to

brain networks to develop their playing.

The other thing that not looking helps with is in getting you in the habit of using your ears as your

primary means of feedback, as opposed to your eyes. We're playing music, sowe really want to

judge how we're doing by what we hear, and not by what we see. And so starting to do this early

on is a great habit to get into.

So go ahead and practice a bit trying to strike each of the individual strings with your picking hand

using the hammer motion. And don't forget about the thumb rest. - make sure that the flesh of the

thumb ends up pressed against the fifth string at the end of the stroke. Practice doing this for a bit,

and once you feel a little bit comfortable with it, itll be time for a few more exercises with the

metronome.

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EXERCISE ONE

In this exercise well strike each string four times, starting with the first string, progressing up

towards the fourth string, and then back down towards the first string. And I once again

recommend playing this along with the metronome. As you may remember, Ive set up a

metronome playlistyou can use on youtube if you dont have your own.

For these exercises, start with the lower metronome setting of 80 BPM, and then as you get

comfortable playing along with that continue to move up by 10 BPMs until you can play

comfortably at around the 100 or 110 BPM setting. I dont think you need to be able to play these

any faster than that to get to where you need to be at this point.

Heres the first exercise in tablature. Once again, play one stroke for every two clicks of the

metronome:

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EXERCISE TWO

For the second exercise, we're going to strike each individual string one time, starting with the first,

and then moving back up to the fourth, and then back down to the first:

EXERCISE THREE

For the third exercise, we're going to follow a pattern similar to exercise one, but instead after each

hammer we're going to throw in a strum:

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EXERCISE FOUR

For the last exercise, well use a pattern similar to the second exercise, but once again insert a

strum after every hammer.

So that should be enough to keep you busy until the next installment. As I said earlier, this is will

feel awkward at first. But if you stay the course, put in about twenty to thirty minutes a day of

focused practice time, bit by bit you'll undoubtedly get better each day. And in doing so you'll be

forming some great habits that, rather than limiting what you can do, will ultimately allow you to

reach your fullest musical potential.

And once youve made your way through the exercises, youre all set to move on lesson 4, where

well finally start putting the fifth string into action!

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Lesson 4: Ringing the Fifth

Welcome to the fourth installmentin the eight essential steps to clawhammer banjo video series.

For many of you, this lesson is the moment you've been waiting for. Finally, we're gonna start

ringing the fifth string with our thumbs. In many ways, we've building to this moment with the

previous lessons, which have set the stage for us to learn this all important technique of

clawhammer banjo playing.

DOUBLE DUTY

If you recall back in lesson two, I mentioned that, for the most part, the short fifth string functions

as a drone note in clawhammer banjo playing, meaning that it's a note that's continuously sounded

in the background in our music. Yet, in order for us to continuously ring a drone note, our picking

hand must engage in two simultaneous tasks.

On the one hand, we have to pick out the melody note on the first through the fourth strings with

our picking finger. And on the other hand, we have to keep ringing the fifth string with our thumb.

As such, it's critical that we develop a stroke that's as efficient as possible, which is what we'll end

up with at the end of this lesson.

To recap what we've covered so far, in the first lessonwe reviewed the two basic motions of the

picking hand, which are the hammer and the strum. In the second lesson, we learned the all

important thumb rest. And, in the last lesson, we covered the skill of striking the individual strings

with our picking finger.

In this lesson, we're going to cover the final piece of the clawhammer stroke: plucking the fifth

string with the thumb.

PLUCKING AROUND

Before you start picking the fifth string with your thumb in the context of the clawhammer stroke,

first just practice plucking the fifth string with your thumb on its own. Press the pad of your thumb

up against the fifth string and press forward until your thumb rolls off. Remember that your nail

isn't involved at all in sounding the string.

Practice plucking the fifth string a few times so you get the feel for it, and then move on to

practicing it as part of the clawhammer stroke.

Now we're going to do that same exact thing, except we're going to do it at the end of the hammer

motion. To do so, just strike down on the first string using the hammer motion, have the flesh of

your thumb come to rest against the fifth like we've worked on, and then pluck the fifth string with

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your thumb like you just did. It should almost feel as if you're squeezing the fifth string towards

your palm as you pluck it.

AN ADDED BONUS

One of the neat things that happens here is that after you pluck the fifth, your hand is going to

naturally recoil a little bit and come back towards the place where you started. So regardless of

whether you decide to sound the fifth string or not after the thumb rest, your hand is basically

doing the exact same thing. In essence, you're able to sound the fifth string with your thumb as an

added bonus with the stroke.

After practicing plucking the fifth string after the hammer stroke for a bit, try it with the strum.

Strum across the strings, have the flesh of your thumb come to rest against the fifth, and then pluck

the fifth again just as you've been doing.

Practice both of those strokes a little bit, and once you've got the basic idea of it, move on to thefollowing exercises, which Id recommend practicing along with the metronome. As always, I'd

recommend that you start on a very slow metronome setting, and then work to faster speeds as you

get comfortable with it.

THE EXERCISES

In the exercises in this video as demonstrated, Im playing one stroke per click of the metronome. In

the previous videos, however, weve been playing one stroke per two clicks. This means that an

eighty beats per minute setting will a good bit faster to you than it did in the other videos. So I've

added some slower settings on the metronome playlist which you can access here, and I'd

recommend that you for these exercises you start around the fifty beats per minute mark, and then

increase by ten beats per minute until you can play along with the eighty beats per minute setting.

SET ONE

In this first set of exercises, we'll play a hammer stroke, and then follow that with a hammer +

thumb stroke. Do this first on first string, which in tab looks like this:

Exercise 1.1

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Now, repeat that same pattern on the second string, then the third string, then the fourth string, as

shown below:

Exercise 1.2

Exercise 1.3

Exercise 1.4

SET TWO

For the next set of exercises we're going to again play a hammer on the first string, and then follow

that with a strum + thumb stroke, as shown below:

Exercise 2.1

Once again, repeat this same pattern on the second string, then the third string, then the fourth

string, as shown below:

Exercise 2.2

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Exercise 2.3

Exercise 2.4

SET THREE

For the next exercise, we're going to use the same pattern that we did in the first set of exercises,

but then we'll move it sequentially up the strings. So we're gonna start on the first string, play the

hammer and hammer + thumb pattern four times, move to the second string, then the third string,

then the fourth string. Here's what it looks like in tab:

Exercise 3

SET FOUR

In the fourth exercise, we're going to be using the same pattern we did in the second exercise, the

hammer followed by a strum thumb, and again take that pattern and move it from the first string,

to the second string, third string, fourth string, just like we did in the last exercise. Here's what it

looks like in tab:

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Exercise 4

SET FIVE

For the last exercise what we're going to do is follow every hammer stroke with a thumb, and we're

gonna start by doing that on the first string. Here's what it looks like in tab:

Exercise 5.1

Once again just like in the first two sets of exercises, I'd recommend you do that same pattern on

the second string, the third string, and the fourth string, like this:

Exercise 5.2

Exercise 5.3

Exercise 5.4

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THE SKY IS THE LIMIT

Congratulations, if you're able to make it through those exercises then you've mastered the

fundamentals of the clawhammer stroke, and now possess a tool that you can use to make

incredible sounding music. As I said earlier, from here on out most of our exercises are gonna be

either parts of tunes or entire tunes, so we're gonna start making some really good music in a

hurry.

So practice up, and I'll see you in lesson five.

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Lesson 6: Hammering On

Welcome to the sixth installmentin the 8 essential steps to clawhammer banjovideo series. In this

lesson, well be picking up where we left off in our last video by continuing our work on fretting

techniques. Hopefully, you've made your way through the exercises from the last videoand are

comfortable with the basics of fretting a note.

As I mentioned in lesson five, the fretting hand in clawhammer banjo is oftentimes called upon to

do more than it is on perhaps your average stringed instrument. Specifically, there are many

circumstances where, instead of sounding a note with our picking finger, we'll instead use one of

the fingers of our fretting hand to do so. And in the next two videos, we'll be covering the two

primary techniques for doing so. The one we'll be covering in this video is the hammer on.

THE HAMMER ON

When we execute a hammer on with our fretting hand, what we're essentially doing is taking a

string that's already vibrating (and sounding a note we can hear), and then fretting it while it's still

moving. In doing so, we produce a new note. And there are a couple of ways of executing the

hammer on. The first is to hammer onto a string that we've just struck with our picking hand.

Hammering on the Same String

If you've played other stringed instruments, or if you've played fingerstyle banjo, then you're

probably familiar with the technique of hammering onto a string you've just struck. For example, if

I strike the open 4th string with my picking finger, and then hammer onto the 4th string at the

second fret with the middle finger of my fretting hand, I've used my fretting finger to change that

note from a D to an E.

So go ahead and give that a try on each of the strings. Try playing the open 4th and then, while the

string is still sounding that note, fret the string at the 2nd fret with the middle finger of your

fretting hand. Then try doing the same on the 3rd string - play it open and then hammer onto the

2nd fret with your middle finger. Then try playing the open 2nd, and then hammer onto the 1st fret

with your index finger. Then play the open first, hammering on again at the 2nd fret with yourmiddle finger. Practice those hammer ons for a bit until youve gotten the basic idea of it.

Hammering onto a Different String (alternate string hammerons)

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One of the cool things you can do with hammer ons, which works particularly well on the banjo, is

to strike a note with your picking finger, and then hammer onto a different string with your

fretting hand. This is often referred to as an "alternate string hammer on".

For example, I can strike the open 2nd string with my picking finger and then hammer onto the 3rd

string at the second fret. Once again, the string I'm hammering onto with my fretting hand isdifferent than the one I just struck with my picking hand (though the technique is the same).

So now give this try. Try striking the open 2nd string, then hammer onto the 3rd string second fret.

Then strike the open 3rd, and then hammer onto the 4th string second fret.

Once you're comfortable with that, well move on to a couple of exercises.

Exercise One

In this first exercise, we're going to use a little picking pattern to practice these two hammer on

techniques.

In tablature, a hammer on onto a string youve just struck is typically represented with an arc

joining the two notes together, with a capital H over the top (standing for hammer). An

alternate string hammer on, on the other hand, is represented by a number underneath the

tablature, which refers to the finger of my fretting hand I usually use to execute the hammer on.

For example, in the fourth measure of the example below theres a 2 underneath the tab. Here,

Im striking the open 2nd string with my picking finger, and then hammering onto the 3rd string (atthe 2nd fret) with my 2nd finger(a.k.a my middle finger; 1=index, 2=middle, 3=ring, 4=pinky).

Exercise Two

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In this last exercise, we'll be playing the A part of the tune "Turkey in the Straw." It's a very "notey"

tune, and I've chosen it because it's one of those tunes where the use of hammer ons allows us to

play more melody notes than we would be able to if we were just to use the picking finger of our

picking hand. So this exercise gives a nice illustration of what this technique allows you to do.

Heres the tab:

Now, dont worry if this one feels challenging at first. Its supposed to. If youre practicing it along

with the metronome (click here for the metronome playlist), Id suggest starting with perhaps the

40 bpm settingand then slowly working your way up from there. And, most importantly, have fun

with it!

As always, if you have questions or comments about this lesson, please leave them in the comments

section of the video.

See you in lesson 7!

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Lesson 7: Pluck Off

Welcome to the seventh installmentin the 8 essential steps to clawhammer banjovideo series. In

this lesson, well be continuing to work on those fretting hand techniques that allow us to steal

extran notes from the banjo without breaking the clawhammer motion. Last time it was the

hammer on, this time

the pull off.

THE PULL OFF

The pull off is one of those techniques where it can be easy for folks to get into a bad habit, usually

because they've gotten the wrong idea about what they should be doing with their fretting

hand/finger to execute the technique. I think this couldve been largely avoided if we could just go

back and rename this a "pluck off", because in my mind that's the best way to think about it. What

you're really doing here is plucking the string with your fretting finger - instead of yourpicking finger - to play a note.

So, before you go any further, go ahead and just try plucking the first string with the index finger of

your fretting hand. Try to do it so you get a clear note that rings out. Then try that same thing using

your middle and ring finger.

Plucking Off on the Same String

Now, just as we did with the hammer on, the first thing we're going to learn is pulling off on a string

we've just struck with our picking finger. For example, if I fret the first string at the second fret with

my middle finger, then strike that string with my fretting hand, and then pull off the string after

I've struck it, what I've done here is used my fretting hand to change the note from an E to a D.

So now go ahead and practice pulling - or plucking - off the 1st string at the 2nd fret with your

middle finger after you strike it with your picking finger. Then try the same thing at the first fret of

the second string using your index for the pull off. Then try a pull off on the third string, second fret

with your middle finger. And lastly, try pulling off the fourth string, second fret with your middle

finger. Do this until you feel like you've got the basic idea of it, then move on.

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Pulling Off onto a Different String (alternate string pulloffs)

Just as was the case with the hammer on, one of the cool things we can do with this technique is

pull off a string other than the one we've just struck with our picking finger. The techniquehere is the same as pulling off the same string in that were just plucking a string with a fretting

finger - the only difference being were doing this on a string other than the one we just struck with

our picking finger. And what this allows us to do is play another note without having to break the

clawhammer motion.

One more important thing to note here is that it actually doesn't matter where on the fretboard you

pluck off the string. Regardless of whether you pull off up towards the peghead or way down by the

banjo head, the note you play will be the same.

So go ahead and give that a try. Strike the second string open with your picking finger, then pull offthe first string with your index after doing so. Give this pull off a try with your middle and ring

finger as well. You may ultimately find one finger feels more comfortable for these pull offs, and

might become your go to finger for this technique in the future.

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Exercise One

In this first exercise, we're going to use a little picking pattern to work on these two pull off

techniques. You'll note here in the tab that, similar to the hammer on, a pull off is represented by

an arc joining the string you strike with your picking finger to the note you pull off to with your

fretting finger, with the letters "PO" over it to signify a pull off.

Alternate string pull offs are denoted by a number underneath the tab, which refers to the fretting

hand finger I typically use to execute the pull off. So you'll see there's a "2" underneath the tab in

measures 3 and 4, indicating that I'm pulling of the first string in each of those spots using my 2nd,

or middle, finger.

The tuning for this exercise is standard G (gDGBD).

Once again, Id encourage you to practice these exercises along with the metronome, and you can

use the metronome playlistIve created if needed. Start out at the slowest setting and only move to

faster speeds once you can comfortably play along with the one youre on.

And though the exercise itself is just eight measures long, Id encourage you to keep looping

through it over and over as you practice it (Id encourage doing this with all of the exercises).

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Exercise Two

So in last week's second exercise, we played the A part of the tune Turkey in the Straw. Naturally,

I thought it fitting we conclude this video with the B part, which, as it turns out, also provides a

good workout for our pull offs. Just like the hammer ons did for the A part, the pull offs here allow

us to get melody notes in this tune that we wouldn't have otherwise been able to get without

breaking our clawhammer motion. Once again, you may find this a little challenging right now, and

that's perfectly fine. Just use it as motivation to push yourself to get better.

Youll note in this tab in measures 3 and 4 that there are spots where the number 5 is on strings 1,

2, and 3. Here, youre executing a brush stroke, and you do so while laying your index finger of

your fretting hand across the strings at the fifth fret (so that youre simultaneously fretting all 3

strings and the 5th fret). This is referred to as a bar position for the fretting hand (the finger isfunctioning as a bar over the strings).

Just Pluck It

Okay, if my mathematical skills serve me right, we have only one lesson left in our 8 essential steps

video series. And if you've made it to this point, congratulations, cause you're developing all the

fundamentals you need for a lifetime of great music, and your hard work and focus will ultimately

pay off in a big way.

So, until next time, go pluck off!

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Lesson 8: Sliding into Home

Welcome to the eighth - and final - installmentin the 8 essential steps to clawhammer banjovideo

series. In this lesson, we'll cover the last of what I consider the fundamental fretting hand

techniques....the slide. The slide is a common device used by clawhammer banjoists. As youll

discover, it's another great tool for adding another layer of interest to your music, and theyre not

too difficult to learn! Slides are also sound great on fretless banjos - and since fretless banjos have

played a big part in the clawhammer tradition, its no suprise that slides do too.

THE TECHNIQUE

With the slide, as with the hammer on and pull off, you're once again using your fretting hand to

produce a new note. In the case of the slide, as with those other two, you're changing a note that

was struck by your picking hand to a new note; however, in this case, you're also sounding all thenotes in between on your way there.

In my opinion, the slide allows you to better mimic what we oftentimes do with our voice when we

move from one note to the next. We don't typically move discreetly, but rather we tend to slide up

from the first note to the second. I'll cover this again in a bit.

So, to execute the slide, your start with the fretting finger on the starting note, then strike the string

with your picking finger, then, while still holding the string down with your fretting finger, move to

the new note. Try doing this first on the 3rd string. Start by fretting it with your middle finger at the

2nd fret. Then strike the middle string with your middle finger, and after youve struck it, slide yourfretting finger from the 2nd fret to the 4th fret (holding the string down with your fretting finger

the entire time). This slide on the 3rd string from the 2nd to 4th fret is probably by far the one used

most in clawhammer banjo.

After getting comfortable with that slide, trying sliding on the 4th string from the 4th to the 5th fret,

again fretting with your middle finger. And, lastly, try sliding on the 2nd string from the 2nd fret to

the 3rd fret.

Once youve gotten a little comfortable with these, lets try them in an exercise.

Exercise One

In this first exercise, we're again going to use a little picking pattern to work on these slides we just

reviewed. You'll note here in the tab that slides are represented in the tab with a line joining the

note you start the slide on with the note you end on, with the letters Sl over it.

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The tuning for this exercise is standard G (gDGBD).

Once again, Id encourage you to practice these exercises along with the metronome, and you can

use the metronome playlistIve created if needed. Start out at the slowest setting and only move to

faster speeds once you can comfortably play along with the one youre on.

And though the exercise itself is just eight measures long, Id encourage you to keep looping

through it over and over as you practice it (Id encourage doing this with all of the exercises).

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Exercise Two

Now we're gonna work on slides in the context of a tune, specifically the A part of the song Bile

Dem Cabbage Down. Here, youll note that the slide on the 3rd string helps us to better capture

how wed sing this song with our voice.

Au Revoiror not!

And, just like that, we've reach the end of our 8th and final lesson. If you've made through all the

lessons this far, congratulations! Thanks to all your hard work, you now possess all the

fundamental technical building blocks needed to make a lifetime of great music.

But this isn't quite goodbye, as I'll be coming back with a few follow up installments where we'll

work on learning some tunes, and in doing so demonstrate how these fundamental technicalelements you've just learned can be combined in virtually infinite number of ways to create all

manner of wonderful music.

Wanna take your playing even further?

Learn more atbreakthroughbanjo.com

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