Technique
Some Technical and Musical Aspects of the
Banjo Part 3: Right Hand Technique - 12
Douglas Rogers ARAM
In motor-skill-based disciplines it is inevitable that
unpractised, awkward application of the ‘correct’ technique
can be less effective than the default, apparently effortless
‘incorrect’. Music, which uniquely combines so many faculties,
is full of instances of this.
Beginners particularly suffer from this apparent paradox
at the hands of their teacher. With the right hand the tyro
wants to pluck only with the thumb. Teacher: “Use the
fingers! Alternate them!” The pupil tries to obey. Everything
slows down, the tone suffers, the struggler protests. With
the left hand he wants to use only the first finger. Teacher:
“Spread the hand – first finger first fret, second finger second
fret, third finger third fret . .
!”). The pupil tries to obey –
with similar results.
The teacher must be
tough, the pupil trusting.
Both must be patient.
Yet the difficulty is not
confined to beginners; indeed
at almost every level the
introduction of conscious
effort reduces things to a
snail’s pace – one only has
to alter a fingering or a few
notes in a passage of some
complexity to appreciate
the effect; and as for having
to change a technique or
approach (that may well have
served adequately for several
years) in order to be able to
ascend as it were to a higher
plane – well – to quote ‘Deep
Thought’, the computer in
The Hitchhiker’s Guide to the
Galaxy, it can be “Tricky”.
(‘DT’ then took seven and a
half million years to solve the
problem presented. But don’t
be put off.)
To prevent this possible
future aggravation, a good
teacher, who knows what’s
coming, must insist the
neophyte follow the correct
procedures – just as a child is
taught the proper formation
of letters so as to prepare for
the later transition to cursive
handwriting. The teacher
should offer as far as possible not only the general principles
of a sound technique but also give his charge the precise
means of implementing them.
This notion was touched on in an early instalment in this
series that dealt with holding the banjo (issue 54, autumn
2010), in which the Right Thigh Position was recommended
in preference to the Lap Position. There are after all,
technical, acoustic, practical and aesthetic advantages in
using the RTP! Nevertheless I accepted that the bother
of changing from the LP to the RTP if the RTP were done
incorrectly would render the exercise unprofitable.
I want to pursue this theme particularly with regard to
nail use, the benefits of which have already been extolled in
previous instalments. If the digits (including thumb) strike
the strings in an ‘outward’ direction (fingers towards floor
and thumb towards ceiling), then their having nails greatly
enhances clarity, volume and quality of tone produced. This
outward direction of attack is used in mainly three different
instances: 1) In frailing and old minstrel/antebellum playing
(first finger only, thumb as normal). 2) In finger tremolos in
which a finger or fingers rapidly brush one or all strings back
and forth – often while the thumb, playing normally, delivers
accompaniment. 3) In the many varieties of thumb or finger
‘rasp’ (short for raspado or raspato – Spanish and Italian
respectively – meaning ‘scratched’ or ‘scraped’).
One form of the rasp, described in old Tutors (e.g.
Nassau-Kennedy’s excellent 1908 ‘Academic Edition’
Modern School) as Alla
Spagnola or ‘Spanish
Style’, is similar to a very
basic flamenco guitar
rasgueado. In the words
of N-K it has a ‘. . . florid,
showy appearance and is
characterised by a spirit of
apparent abandonment.’
In its simplest form it’s
achieved by throwing
out from the palm, in
controlled rhythmic
succession, fingers
4-3-2-1 (followed perhaps
by a down stroke of the
thumb), rather like the
opening of a fan. It was
intended to be introduced
as the central rhythmic
motif of, say, a Bolero. As
in flamenco, in order to
produce a continuous roll,
the fingers as well as the
thumb strike in succession
on the return journey also.
To make this bit of exotica
effective, nails are sine
qua non.
A glance through
Joe Morley’s music reveals
that at least half his pieces
rasp the last two chords,
usually the dominant (7th)
and the tonic. According
to his Tutor (and those of
Grimshaw) these rasps
are fingered in the same
way as in N-K’s book.
Nevertheless, in the context of Morley’s pieces the two final
chords are chopped chunks – the fingers almost sound
together: Their job is to make a strong, well-placed, visually
extravagant ending – and to provoke applause. However,
there are other kinds of rasps. One, the Thumb Rasp, is
found on just the final chord, and only if that’s G. There is
one piece of Morley’s that explains why: Donkey Laugh. It
happens to have a glossary that describes not only the TR
but also two other types that occur in the music. Of the TR
Morley writes: ‘Strike the strings upwards from 1st to 5th,
using the back of the thumbnail . . .’ Naturally – he wants
the highest note (the open G) of the chord to speak last! But
only a nail of good length & shape, well wielded, will bring
resounding success!
More on this subject next time . . .
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