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Introduction to Travis picking on DGdg tenor banjo
For more recent information look to my April 2010 article at Banjo Sessions.
While in the Scruggs technique the melody is played by right thumb and other two fingers care for the harmony and rolling rhythm, the Travis picking uses the opposite approach. The melody is played by index and middle finger and the right thumb plays the steady bass rhythm.
On the contrary to 5-string banjo originated Scruggs technique, Travis picking was born on guitar. Of course there are 5-string banjo players who have adopted Travis-like licks (mainly Eddie Adcock). I think
the problem with 5-string is too narrow range of strings in one position
(not counting the fifth one which is on "wrong" side for Travis picking):
one octave (D--d) in comparison with two octaves (E----e) in guitar. The octave + fourth range of tenor banjo tuned to DGdg is something inbetween - so emulating the
Travis picking on DGdg tenor banjo has to be easier than on 5-string.
Note Merle Travis used only his thumb and index finger, but we will keep all three fingers T, I, and M in use. The original pattern played by Merle Travis himself uses the muted thumb brushes on the second and fourth beat, which does not leave us too much space for the melody on the treble strings as the tenor banjo has four strings only. For illustration purpose only, here is the exact transcription of thumb part of original Travis pattern on G chord to DGdg banjo:
g-----------------|-----------------|-
d-----0-------0---|-----0-------0---|-
G-----4-------4---|-----4-------4---|-
D-5-------0-------|-5-------0-------|-
| | | | | | | |
T T T T T T T T
In the DGdg tenor banjo, the right thumb has no space for the brush on middle strings, so we will play just the bass notes. But in order NOT to go "double time", the bass notes will be repeated.
on G chord (see the DGdg chords)
g-----------------|-----------------|-
d-----------------|-----------------|-
G-0---0-----------|-0---0-----------|-
D---------0---0---|---------0---0---|-
| | | | | | | |
T T T T T T T T
on D chord
g-----------------|-----------------|-
d-----------------|-----------------|-
G---------2---2---|---------2---2---|-
D-0---0-----------|-0---0-----------|-
| | | | | | | |
T T T T T T T T
The root is played on the first and second beat and the another note (actually the fifth of the chord) on the third and fourth beat. On this steady thumb rhythm on G and D strings we have to be able to play the melody by index OR middle finger on g OR d strings. The melody can be played on the beats (index OR middle finger plays the pinch together with the bassing thumb) or between the beats, which creates the characteristic syncopation.
Befor you will learn to play only the melody notes which you want, I recommend to learn some patterns, which can be used without thinking during the accompaniment. Here is one frequently used pattern - note it has four versions depending on where is the root of the chord and which treble string is played first. Practice all four versions as they prepare your index and middle fingers for more difficult task - playing the melody.
G chord (or barre shape up the neck), g string first
g-0---------0-----|-0---------0-----|-0---------0-----|-
d-------0-------0-|-------0-------0-|-------0-------0-|-
G-0---0-----------|-0---0-----------|-0---0-----------|-
D---------0---0---|---------0---0---|---------0---0---|-
| |_| |_|_|_| | |_| |_|_|_| | |_| |_|_|_|
TM T I T M T I TM T I T M T I TM T I T M T I
G chord (or barre shape up the neck), d string first
g-------0-------0-|-------0-------0-|-------0-------0-|-
d-0---------0-----|-0---------0-----|-0---------0-----|-
G-0---0-----------|-0---0-----------|-0---0-----------|-
D---------0---0---|---------0---0---|---------0---0---|-
| |_| |_|_|_| | |_| |_|_|_| | |_| |_|_|_|
TI T M T I T M TI T M T I T M TI T M T I T M
D chord (or D shape up the neck), g string first
g-2---------2-----|-2---------2-----|-2---------2-----|-
d-------0-------0-|-------0-------0-|-------0-------0-|-
G---------2---2---|---------2---2---|---------2---2---|-
D-0---0-----------|-0---0-----------|-0---0-----------|-
| |_| |_|_|_| | |_| |_|_|_| | |_| |_|_|_|
TM T I T M T I TM T I T M T I TM T I T M T I
D chord (or D shape up the neck), d string first
g-------2-------2-|-------2-------2-|-------2-------2-|-
d-0---------0-----|-0---------0-----|-0---------0-----|-
G---------2---2---|---------2---2---|---------2---2---|-
D-0---0-----------|-0---0-----------|-0---0-----------|-
| |_| |_|_|_| | |_| |_|_|_| | |_| |_|_|_|
TI T M T I T M TI T M T I T M TI T M T I T M
Another frequently used pattern is this one:
(first version only)
g-0-----0---------|-0-----0---------|-0-----0---------|-
d---0-------0-----|---0-------0-----|---0-------0-----|-
G-0---0-----------|-0---0-----------|-0---0-----------|-
D---------0---0---|---------0---0---|---------0---0---|-
|_|_|_| |_| | |_|_|_| |_| | |_|_|_| |_| |
TM I T M T I T TM I T M T I T TM I T M T I T
As an example of the melody arranged in Travis picking technique here is the simple version of Tom Dooley tune:
(last full measure contains famous Scruggs' fill-in lick adapted to Travis picking)
G D
g-----------0-----|-4-----4---------|-----------0-----|-2-----2---------|
d-0-----0 2-------|---0-------2-----|-0-----0 2-------|---0-------2-----|
G-0---0-----------|-0---0-----------|-0---0-----------|---------2---2---|
D---------0---0---|---------0---0---|---------0---0---|-0---0-----------|
| |_| |_| | |_|_|_| |_| | | |_| |_| | |_|_|_| |_| |
TI T IhT M T TM I T M T I T TI T IhT M T TM I T M T I T
D G
g-----------0-----|-2-----2---------|-2-----4---0-----|-0-----2 3-0-----|-0-
d-0-----0 2-------|---0-------2-----|---------------2-|-------------0 2-|---
G---------2---2---|---------2---2---|---------2---2---|-0---0-----------|-0-
D-0---0-----------|-0---0-----------|-0---0-----------|---------0---0---|---
| |_| |_| | |_|_|_| |_| | | |_| |_|_|_| | |_| |_|_|_| |
TI T IhT M T TM I T M T I T TM T M T M T I TM T MhT M TIh TM
If you would like to practice the Travis picking patterns systematically, look at the Excel file with all half-measure Travis patterns. Thumb plays here on the downbeats, and index, middle, or both fingers play either on the downbeats or on the upbeats. The objective is to let your index and middle fingers pick the melody on whatever treble string whenever they (read "you") want. For that ideal stage the right hand should be prepared by practicing all possible picking combinations.
POLYRHYTHM occurs when different rhythm is picked by thumb and by the index and middle fingers. First example is with the thumb playing (as usual) the regular quarter notes, but the index and middle finger play the 3/8 pattern composed of 2 eight notes picked and 1 eight pause.
First try this forward pattern on G7 chord:
g---4-----4-----4|----4-----4----|4-----4-----4---||-
d-3-----3-----3--|--3-----3-----3|----3-----3----.||-
G-0---0--- ------|0---0----------|0---0----------.||-
D---------0---0--|--------0---0--|--------0---0---||-
|_|_|_| | |_| |_| | |_|_|_| | |_| |_| |
I M I M I M I M I M I M I M I M
T T T T T T T T T T T T
or this on D7 chord (the bass notes changed the order of strings):
g---5-----5-----5|----5-----5----|5-----5-----5---||-
d-4-----4-----4--|--4-----4-----4|----4-----4----.||-
G---------2---2--|--------2---2--|--------2---2--.||-
D-0---0----------|0---0----------|0---0-----------||-
|_|_|_| | |_| |_| | |_|_|_| | |_| |_| |
I M I M I M I M I M I M I M I M
T T T T T T T T T T T T
Here is the upper part reversed to backward pattern, on G7 chord:
g-4-----4-----4--|--4-----4-----4|----4-----4-----||-
d---3-----3-----3|----3-----3----|3-----3-----3--.||-
G-0---0----------|0---0----------|0---0----------.||-
D---------0---0--|--------0---0--|--------0---0---||-
|_|_|_| | |_| |_| | |_|_|_| | |_| |_| |
M I M I M I M I M I M I M I M I
T T T T T T T T T T T T
And finally backwards on D7 chord:
g-5-----5-----5--|--5-----5-----5|----5-----5-----||-
d---4-----4-----4|----4-----4----|4-----4-----4--.||-
G---------2---2--|--------2---2--|--------2---2--.||-
D-0---0----------|0---0----------|0---0-----------||-
|_|_|_| | |_| |_| | |_|_|_| | |_| |_| |
M I M I M I M I M I M I M I M I
T T T T T T T T T T T T
The second example combines regular quarter notes in bass versus the 5/8 pattern on the top, composed of 3 picked notes by IMI fingers and 2 eight pauses.
g---0---------0--|------0--------|0---------0----|----0---------0|--------0-------||-
d-0---0-----0---0|----0---0-----0|--0-----0---0--|--0---0-----0--|0-----0---0----.||-
G-0---0----------|0---0----------|0---0----------|0---0----------|0---0----------.||-
D---------0---0--|--------0---0--|--------0---0--|--------0---0--|--------0---0---||-
|_| | |_|_|_| | |_| | |_| |_| | |_| | |_|_|_| | |_| | |_| |_| |
I M I I M I I M I I M I I M I I M I I M I I M I
T T T T T T T T T T T T T T T T T T T T
Another example uses the 7/8 pattern on the treble strings, composed of 2 picked notes, 1 pause, 3 picked note and 1 pause.
g---0-----0------|0-----0-------0|----0-------0--|--0-------0----|-
d-0-----0---0---0|----0---0---0--|--0---0---0----|0---0---0-----0|-
G-0---0----------|0---0----------|0---0----------|0---0----------|-
D---------0---0--|--------0---0--|--------0---0--|--------0---0--|-
|_|_|_| |_|_|_| | |_| | |_| |_|_|_| |_| | |_| | |_|_|_|
I M I M I I M I M I I M I M I I M I M I I M I
T T T T T T T T T T T T T T T T
g-0-------0-----0|------0-----0--|----0-----0-----||-
d---0---0-----0--|0---0-----0---0|--0-----0---0--.||-
G-0---0----------|0---0----------|0---0----------.||-
D---------0---0--|--------0---0--|--------0---0---||-
|_|_|_| | |_| | |_| |_|_|_| |_| | |_| |
M I I M I M I I M I M I I M I M I
T T T T T T T T T T T T
By DOUBLING of some finger you get another interesting patterns. Here is one rhytmic pattern for „bass + treble accompaniment“ with the accent on the back beat.
G C D
g------0-0-----0-0|----0-0-----0-0|----2-2-----2-2|-
d----0---0---0---0|--2---2---2---2|--0---0---0---0|-
G--0---0----------|5---5----------|--------2---2--|-
D----------0---0--|--------5---5--|0---0----------|-
|_|_|_| |_|_|_| |_|_|_| |_|_|_| |_|_|_| |_|_|_|
M M M M M M M M M M M M
T I T I T I T I T I T I T I T I T I T I T I T I
It developed from simple TIMI TIMI pattern:
Just TIMI Add 2nd Thumb Double the M
g------0-------0--|----0-------0--|----0-0-----0-0|-
d----0---0---0---0|--0---0---0---0|--0---0---0---0|-
G--0--------------|0---0----------|0---0----------|-
D----------0------|--------0---0--|--------0---0--|-
|_|_|_| |_|_|_| |_|_|_| |_|_|_| |_|_|_| |_|_|_|
M M M M M M M M
T I I T I I T I T I T I T I T I T I T I T I
I play it with a bit of bounce.
By mixing the four-note-long brick T I(TM)(IM) and two-note-short brick T(IM) you can switch between accenting back beats and front beats:
long brick short brick
g--------x-x--------x--------
d------x---x--------x--------
D/G--X---X--------X----------
|_|_|_| |_|
M M M
T I T I T I
back back front front front front back
g--------x-x-----x-x|--x-----x-x----|x-x-----x-x----|x-x---x-----x-x|
d------x---x---x---x|--x---x---x---x|--x---x---x---x|--x---x---x---x|
D/G--X---X---X---X--|X---X---X---X--|X---X---X---X--|X---X---X---X--|
|_|_|_| |_|_|_| |_| |_|_|_| |_|_|_| |_|_|_| |_|_|_| |_| |_|_|_|
M M M M M M M M M M M M M M M M
T I T I T I T I T I T I T I T I T I T I T I T I T I T I T I T I
I would play always two notes per thumb string (notes G G D D, D D A A etc. and not G D G D, D A D A etc.) in order to match the speed of root-five exchange by doublebass or guitar (which is G - D - , D - A - ).