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Single-string fingerpicking on DGdg tenor banjo
Update - TITM and TMTI patterns
While in bluegrass context single-string fingerpicking is something special and known as "Reno style" (after Don Reno who wanted to distinguish himself from three-finger picking hero Earl Scruggs), in the context of tenor banjo single-string flatpicking is the preferred way of playing the notes. In single-string picking the right hand fingers do not roll over different strings in some pattern but simply pick the tune in a way how tenor banjo players play their Irish single-string solos. The only difference is that usually plectrum is used and question is how to use fingerpicks here. And of course DGdg tuning differs from the standard one.
This technique is used when some tune (usually fiddle tune) has "too
many" melody notes that cannot be ommited. Note that in the rolling Scruggs
technique one can play not more than 4 melodic notes (ideally 3 only) per one
eight-notes measure. The rest are the harmony notes which can vary in different
versions. Therefore when the tune has more melody notes, the single-string picking is used (or melodic technique
where every note is played on different string if possible in order to prolong the ringing of the tone)
Old text Flatpicking player has two possibilities of picking the string: by downstroke or by upstroke. The basic rule for transition to fingerpicking is that thumb is
used instead plectrum downstroke and index finger instead upstroke. Your middle finger will take part only in case of triplets or if you prefer to pick the thinnest g string with your middle instead of index finger.
New text Flatpicking player has two possibilities of picking the string: by downstroke or by upstroke. Fingerpicking player armed with the thumbpick and with two fingerpicks on index and middle fingers can use thumb instead plectrum downstroke and index and middle fingers instead upstroke. Instead of common pattern (described in old text) which alternates only thumb and index finger, I am using (for several years now) the pattern TITM or TMTI where the "upstrokes" are played by alternating index and middle finger. This way the middle finger is in permanent use and is not "surprised" when I am coming from single string parts back to rolling. I try to play ascending chain of notes by TITM, and descending notes by TMTI. If the result should be some awkward crossing of thumb and middle finger, it can be changed to thumb/index crossing.
Try for example the short version of the traditional fiddle tune Red Haired Boy. Note that as you skip some notes in the measure, you also skip the fingers in order to keep the regular pattern of thumb playing on down beat and index or middle finger playing on upbeat.
LISTEN
G C G F
g------------------|-----------------|-----------------|-----------------|
d------------------|-0-2-0-----------|-0---------------|-----------------|
G----0---2-0---4-5-|-------4-5---4-5-|-----0---0---5-3-|-2-0-------------|
D--0---------------|-----------------|-----------------|-----3---3-------|
|_|_|_| |_|_|_| |_|_|_| | |_| | | | |_| |_| | |
T I M T T I T M T I T T I T T T T M T I T T
G C G D G
g------------------|-----------------|-----------------|-----------------|
d------------------|-0-2-0-------0-2-|-3-2-3-5-3-2-0---|-------------0-2-|
G----0---2-0---4-5-|-------4-5-------|---------------5-|-4-2-0-2-0-------|
D--0---------------|-----------------|-----------------|-----------------|
|_|_|_| |_|_|_| |_|_|_| | |_| |_|_|_| |_|_|_| |_|_|_| | |_|
T I M T T I T M T I T T I T M T I T M T I T M T I T T I
F C G F
g------------------|-----------------|-----------------|-----------------|
d--3---2---0---5-3-|-2-0-------------|-0---------------|-----------------|
G------------------|-----5---5---4-5-|-----0---0---5-3-|-2-0-------------|
D------------------|-----------------|-----------------|-----3---3-------|
| | | |_| |_| | | |_| | | | |_| |_| | |
T T T T M T I T T T I T T T T M T I T T
G C G D G
g------------------|-----------------|-----------------|-----------------|
d------------------|-0-2-0-------0-2-|-3-2-3-5-3-2-0---|-----------------|
G----0---2-0---4-5-|-------4-5-------|---------------5-|-4---2---0-------|
D--0---------------|-----------------|-----------------|-----------------|
|_|_|_| |_|_|_| |_|_|_| | |_| |_|_|_| |_|_|_| | | |
T I M T T I T M T I T T I T M T I T M T I T T T
Do fingerpick also other melodies you know to become familiar with the
DGdg
fingerboard.
How to play the triplet?
In the classical theory the triplet is group of three equally long notes played in space for two notes only. Triplet is played with all three right hand fingers performing the forward or backward roll with thumb playing the first note. If all three notes are the the same notes you can choose whatever roll you want - forward roll is probably more fluid but you may want to practice intentionally rather the backward one. See the tab for Irish tune in 4/4 rhythm Patrick's Night (transcribed from 5-string tab made by Xavier Baron).
LISTEN
part A
g------||--------------------|-----------0-0---|-------------------|-----------------|
d--0---||.-------------------|-------0-2-----2-|-0---------5-2-0---|-----------------|
G----5-||.-4-0-0-0-0-2-0-----|-0-2-4-----------|---4-4-4-4-------4-|-2-0-2-4-2-0-----|
D------||----------------2-0-|-----------------|-------------------|-------------2-0-|
|_| |_| |_|_| |_|_|_| |_|_|_| |_|_|_| |_| |_|_| |_|_|_| |_|_|_| |_|_|_|
3 3
T I T M T I M T M T I T I T M T M T I T I T I M T M T I T M T I T M T I
__________________
|1. |
|-------------------|-----------0-0---|-------------------|------------------||
|-------------------|-------0-2-----2-|-0---------5-2-0---|-------------0---.||
|-4-0-0-0-0-2-0-----|-0-2-4-----------|---4-4-4-4-------4-|-2-0-2-4-0-----5-.||
|---------------2-0-|-----------------|-------------------|------------------||
|_| |_|_| |_|_|_| |_|_|_| |_|_|_| |_| |_|_| |_|_|_| |_|_|_| | |_|
3 3
T M T I M T M T I T I T M T M T I T I T I M T M T I T M T I T T I
_________________
|2. |
|-----------------|
|---------------0-|
|-2-0-2-4-0---4---|
|-----------------|
|_|_|_| | |_|
T M T I T T I
part B
||--0-0-0---2-0-------|-------------------|-0-0-0---2-0-----0-|-----------2-2---|
||.-------4-----2-0---|-2---------------0-|-------4-----2-0---|-2-----0-2-----4-|
||.-----------------4-|---4-4-4-4-0-2-4---|-------------------|---2-4-----------|
||--------------------|-------------------|-------------------|-----------------|
|_|_| |_| |_|_|_| |_| |_|_| |_|_|_| |_|_| |_| |_|_|_| |_|_|_| |_|_|_|
3 3 3
T I M T M T I T I T I T I M T I T M T I M T M T I T M T I T M T M T I
__________________
|1. |
|-0-0-0---2-0-------|-------------------|-----------------|------------------||
|-------4-----2-0---|-2---------2-0-----|-------0-5-2-0---|---------------0-.||
|-----------------4-|---4-4-4-4-----4-2-|-0-2-4---------4-|-2-0-2-4-0---4---.||
|-------------------|-------------------|-----------------|------------------||
|_|_| |_| |_|_|_| |_| |_|_| |_|_|_| |_|_|_| |_|_|_| |_|_|_| | |_|
3 3
T I M T M T I T I T I T I M T M T I T I T M T M T I T M T I T T I
_________________
|2. |
|-----------------||
|-----------------||
|-2-0-2-4-0-------||
|-----------------||
|_|_|_| |
T M T I T
In the third full measure of A part I play 5th fret on d string even if there is open g string possible. But for the right thumb (which plays right after the middle finger on G string) is better to jump only to d string instead of g. The same is valid for measure 7 of A part, and to keep the fingering unified I play the same also in measure 7 of B part.
In the 4th measure of B part there is barre with left index finger accross 2nd fret.
Triplet with different tones
When the triplet contains not just three the same tones, I keep the general rule that the forward or backward roll is chosen according to the shape of the melody of the second and third tone of the triplet.
Here is the set of four rules for triplets:
1) the first note is always played by thumb
2) if the third tone is higher in pitch than the second one, I play forward roll
3) if the third tone is lower in pitch than the second one, I play backward roll
4) if the third tone is the same as the second one, I play whatever roll
This approach may sound as overruled because one can say that it is enough to stick always e.g. with the forward roll and just in case the last note is on deeper string than the second note the backward roll has to be used.
I keep the four-rule approach because it ensures me that if I play the same melodic motive by single-string picking in different places on the neck, I use always the same right hand picking patterns. Let me demonstrate it on simple shifting of the short motive with triplet up the G scale, starting at the note b:
g||-----------------------|-----------------------|----0-2-0---0--2-4-2-0-|-
d||------0--------0-2-0---|-0--2-4-2-0-2--4-5-4-2-|-4--------4------------|-
G||-4--5---5-4-5--------5-|-----------------------|-----------------------|-
D||-----------------------|-----------------------|-----------------------|-
|__| |_|_| |__| |_|_| |__| |_|_| |__| |_|_| |__| |_|_| |__| |_|_|
3 3 3 3 3 3
In case of simplified approach all triplets would be played with forward roll with exception of the second and the fifth one. In other words there will be used different rolls in the same motive.
g||-----------------------|-----------------------|----0-2-0---0--2-4-2-0-|-
d||------0--------0-2-0---|-0--2-4-2-0-2--4-5-4-2-|-4--------4------------|-
G||-4--5---5-4-5--------5-|-----------------------|-----------------------|-
D||-----------------------|-----------------------|-----------------------|-
|__| |_|_| |__| |_|_| |__| |_|_| |__| |_|_| |__| |_|_| |__| |_|_|
3 3 3 3 3 3
T I T I M T I T M I T I T I M T I T I M T I T M I T I T I M
One can also play the fifth note in the last measure on 5th fret of d string, which would allow the use of forward roll - which would CHANGE the roll.
g||-----------------------|-----------------------|----0-2-----0--2-4-2-0-|-
d||------0--------0-2-0---|-0--2-4-2-0-2--4-5-4-2-|-4------5-4------------|-
G||-4--5---5-4-5--------5-|-----------------------|-----------------------|-
D||-----------------------|-----------------------|-----------------------|-
|__| |_|_| |__| |_|_| |__| |_|_| |__| |_|_| |__| |_|_| |__| |_|_|
3 3 3 3 3 3
T I T I M T I T M I T I T I M T I T I M T I T I M T I T I M
As I keep the four rules above, all my triplets in this example of moving the same motive are played by the same backward roll (according to the third rule). Also changing the way of playing that g tone in the last measure by left hand does not change the right hand roll.
g||-----------------------|-----------------------|----0-2-0---0--2-4-2-0-|-
d||------0--------0-2-0---|-0--2-4-2-0-2--4-5-4-2-|-4------5-4------------|-
G||-4--5---5-4-5--------5-|-----------------------|-----------------------|-
D||-----------------------|-----------------------|-----------------------|-
|__| |_|_| |__| |_|_| |__| |_|_| |__| |_|_| |__| |_|_| |__| |_|_|
3 3 3 3 3 3
T I T M I T I T M I T I T M I T I T M I T I T M I T I T M I
The 6/8 rhythm - double jig
The same logic of playing the group of three notes by forward or backward roll is used in case of 6/8 rhythm - double jig in Irish traditional music.
Let us first distinguish two different rhythms which both have six notes per measure: 3/4 and 6/8. 3/4 waltz rhythm has three groups of two notes OoOoOo, three beats and three off-beats so it can be played just by thumb on the beat and index finger on the off-beat.
On the contrary the 6/8 rhythm has two groups of three notes OooOoo with two strong beats. In that case I apply the same rules stated above for triplets. Now the first rule is the most important one - that every first note of group of three is played by thumb in order to put the proper emphasis to those strong beats.
This is the same logic as some of flatpicking players use when they play double jig with Down-up-down Down-up-down pattern instead of Down-up-down Up-down-up even if the defendants of the latter pattern claim that one should be able to put the same emphasis on uppicking as on downpicking.
The "triplet" in double jig
The triplet in Irish double jig rhythm is actually played by one sixtenth note inserted between the eight notes either after the first note or after the second one.
O o o O o o = original double jig rhytmic pattern
Ooo o O o o = "triplet" after the first note
O ooo O o o = "triplet" after the second note
The triplet may occur of course also in the second group of three notes.
What picking pattern can be used for the "triplet" in double jig? If I want to stick with the rule of picking the strong beats with thumb and the original roll is backward roll, there comes this pattern for the triplet after the first note
O o o O o o = original double jig rhytmic pattern
T M I T M I
Ooo o O o o = "triplet" after the first note
TIM I T M I
resulting into rhytmically shifted TIMI roll.
If the original roll is forward roll, we come to rhytmically shifted TMIM roll which is (at least for me) much harder than TIMI:
O o o O o o = original double jig rhytmic pattern
T I M T I M
Ooo o O o o = "triplet" after the first note
TMI M T I M