Category: Video

This is another clawhammer banjo tune from my recent collaboration with fiddler, Esther Morgan-Ellis. We’ve been working for the last year on a group of new old-time tunes. We began performing them in a series of concerts beginning in Spring 2024, and we plan to release a recording of them soon. Here’s a performance of my tune “Stay Local” from our concert at the University of North Georgia, Dahlonega.

Here’s the tablature for the banjo part and a representative melody line.

Notes About This Tune

• “Stay Local” is a fast tune in A Dorian, played in Sawmill tuning (aEADE) using the clawhammer style.
• This is a slightly crooked tune. There’s no mixed meter, but the phrase lengths are a bit wonky: 11-bar phrases in the A section and 9-bar phrases in the B section.
• The A part phrases begin with the Galax Lick, a brush across the top four strings that lands on the 5th string played with the thumb.
• There’s an alternate string pull-off on in the second ending of the A part. This is a common technique in the Round Peak Banjo style and could be sprinkled throughout other parts of this tune.
• The drop thumb figures in the B part provide a nice rhythmic drive.
• The title of the tune refers to the stationary left hand position used throughout the tune. One thing I love about playing the banjo is the wide variety note choices available without having to move your fretting hand much. This is especially true given the many possible tunings for the instrument. You can do a lot on the instrument just by staying “home,” not traveling too far up the neck. Hence, “Stay Local.”

Give the tune a try, and let me know how you like it!

This one’s an unabashedly pretty song from my recent collaboration with fiddler, Esther Morgan-Ellis. We’ve been working for the last year on a group of new old-time tunes. We began performing them in a series of concerts beginning in Spring 2024, and we plan to release a recording of them soon. Here’s a performance of my tune “Summerbird” from our concert at the University of North Georgia, Dahlonega.

Here’s the tablature for the banjo part and the basic melody line.

Notes About This Tune

• “Summerbird” is a slow, sweet song in A major. A tune like this would typically be played in open A tuning, but I prefer to play this one in Sawmill tuning (aEADE).
• This tune uses the two-finger, thumb lead style that’s well-suited for slower songs. In general, the thumb plays all the melody notes on the 2nd, 3rd and 4th strings, with the 1st and 5th strings serving as drones. The higher melody notes in the B and C parts are played on the 1st string with the index finger instead of the thumb.
• The form of this song begins quite predictably, but the C part enters earlier than expected.
• Esther and I have experimented with adding drones for the accompaniment. There are plenty of other possibilities for harmonies, counter-melodies, etc.

Give this little beauty a whirl, and let me know how you like it!

I’ve been collaborating with fiddler, Esther Morgan-Ellis, for the last year on a group of new old-time tunes. We’ve performed them in a series of concerts beginning in Spring 2024. We plan to release a recording of them soon. Here’s a performance of my tune “Peach Leaf Ice Cream” from our concert at the University of North Georgia, Dahlonega.

And here’s tablature for the banjo part and a representative melody line.

Notes About This Tune

• “Peach Leaf Ice Cream” is in D, played in Double D tuning (aDADE) using the clawhammer style.
• It’s a crooked tune with a beat missing from each phrase in the A part.
• The A part phrases begin with the Galax Lick, a brush across the top four strings that lands on the 5th string played with the thumb.
• The B part of this tune is just pure fun on the banjo: easy hammer-ons and pull-offs.
• For variety, I sometimes play bar 11 up an octave.
• The title comes from a delicious recipe found in the book Sweet Cream and Sugar Cones by the folks at Bi-Rite Creamery.

Give the tune a try, and let me know how you like it!

Here’s a bluesy tune from a year-long collaboration with fiddler, Esther Morgan-Ellis. This is a performance from our concert at the University of North Georgia, Dahlonega, of my tune “Onoma River.”

And here’s the banjo tablature:

Notes About This Tune

• “Onoma River” is in G, played in open G tuning (gDGBD) using the clawhammer style.
• The A part begins with a straightforward 4-bar phrase. But the second phrase has a repeated tag that comes back one beat earlier than expected. I use this kind of gesture often in my tunes.
• The melody has lots of slips and slides between b-flat and b-natural giving the tune a bluesy feel. The raised 4th and lowered 7th fit this blues pattern, too.

Here’s the next in the series of tunes that resulted from a year-long collaboration with fiddler, Esther Morgan-Ellis. We’ve performed them in a series of concerts beginning in Spring 2024. We plan to release a recording of them soon. Here’s a performance of my tune “Red Coreopsis” from our concert at the University of North Georgia, Dahlonega.

And here’s the banjo tablature:

Notes About This Tune

• “Red Coreopsis” is in A, played in open A tuning (aEAC#E – open G, capo 2) using the clawhammer style.
• OK, I lied. It’s not really in straightforward A major. It’s actually in a mixed mode that goes by various names: mixolydian over lydian, lydian dominant, mixolydian #11, etc. The mode includes a raised fourth scale degree and a lowered seventh. It’s popular among bebop jazz musicians.
• The B part of this tune is so crooked that it’s bent almost completely out of shape. It starts with a lovely hemiola and then leans into the raised fourth scale degree. It’s a bit of a wild ride–lots of fun when played fast!
• The title comes from the Dwarf Red Coreopsis plant, a member of the tickseed family. I love growing these native perennials and reliably have a few varieties that reseed themselves in my garden every year.