I have a bigger one than I thought !

[thereallyniceman]

In a recent discussion regarding the playing style of Paul Cadwell, Marc (Trapdoor2) said:

 

I also like how he moves his RH along the strings to get different tonalities, effects and dynamics. Well done there...something that many players never "get".

 

I have been looking at a few photos of the “greats” of Classic Style and it seems that some did and some chose not to get it either!

The little finger mark left on Fred Van Eps’ vellum is quite small and fairly near to the bridge.

 

Whereas Paul Cadwell’s extends a fair way across the vellum,

 

 

 but not as far as Frank Bradbuy’s

 

 

On the contrary two of the finest UK players, Joe Morley leaves a dark mark very close to the bridge and only light marking across the vellum.

 

 

and Tarrant Bailey Jnr's marks barely extend from the bridge.

 

A photo of the little finger mark on my Weaver came as a bit of a surprise to me. I did not realise how much I must move back and forwards automatically !!

 Summing up: Fred Van Eps had a little one and so did TBj. Paul Cadwell’s and Morley's were a bit bigger, but Frank Bradury’s was enormous!

Having taken a peep at others’… mine is bigger than I thought!... BUT after looking at the WJB website I see that poor old Bill Ball didn’t have one at all.

 

They can’t all be right, and can’t all be wrong… so exactly what is your reason for moving your picking hand further from and closer to the bridge?

I usually pick reasonably close to the bridge to get a strong attack and I was taught to change the “volume” by picking more gently in the same position as this would not alter the tone.  I move closer to the fingerboard to get a different “sound or tone”, not volume reduction.

 

We all tend to do it… what are your reasons????

 

[Jody Stecher]

I play close to the bridge for the same reasons you do, Ian. To get a crisp clear attack with a clearly defined start to each note. It's not the loudest place. A little further from the bridge produces more midrange response without diminishing the highs so there is all in all more volume.  When I want a mellow sound on the high strings or a deep booming sound on the bass string I sound the string(s) near where the neck and pot meet. This is not so good for fast passages as the notes tend to run together. But it produces lovely sounding chords. When I play a second banjo part I'll usually play no closer to the bridge than the middle of the vellum. That way my part supports the first banjo and doesn't compete with it.

[Trapdoor2]

I play by feel more than by intent. That is, I don't consiously put my RH in a specific place, I find the most comfortable spot and start from there. For me, that spot happens to be (usually) just below the neck/pot juncture. I then move about to suit whatever sounds I want: sharp attack goes closer to the bridge, softer is further away.

Of course, I tend to prefer the tonal pallette in my 'comfort zone'...I alter the volume by altering the strength of my picking. I don't like the banjo to 'crack', I had plenty of that when I played BG!

Interesting that Bill Ball's banjo has a mark "inside" the strings. He was evidently a very serious 3rd string player!

Most of the photos show at least some evidence that they moved about. Lots of thumb-string marks going right up to the neck. TBjr's tiny little mark at the bridge is totally expected. He must have had iron fingertips. Serious 3rd string mark there too.

[Steve Harrison]

I had the pleasure of spending a day with Bill at his home in Bristol, it must have been 13 or 14 years ago, I can't remember exactly. He played through his repertoire, accompanied by recordings of himself on piano. The velum on his Weaver was pristine, not a mark on it anywhere. This was due in part to Bill's preferred method of playing with a floating right hand.  I've tried playing with my fourth finger on the velum but due to the large size of my hands, I find it awkward and it restricts my movement  I suppose there isn't a 'right' way, it all depends on the anatomy of the player......Steve.

Trapdoor2 said:

I play by feel more than by intent. That is, I don't consiously put my RH in a specific place, I find the most comfortable spot and start from there. For me, that spot happens to be (usually) just below the neck/pot juncture. I then move about to suit whatever sounds I want: sharp attack goes closer to the bridge, softer is further away.

Of course, I tend to prefer the tonal pallette in my 'comfort zone'...I alter the volume by altering the strength of my picking. I don't like the banjo to 'crack', I had plenty of that when I played BG!

Interesting that Bill Ball's banjo has a mark "inside" the strings. He was evidently a very serious 3rd string player!

Most of the photos show at least some evidence that they moved about. Lots of thumb-string marks going right up to the neck. TBjr's tiny little mark at the bridge is totally expected. He must have had iron fingertips. Serious 3rd string mark there too.