Dynamics and Classic Banjo

[Joel Hooks]

A comment by Jody gave me the idea to start a splinter topic on dynamics. 

Along with alternate fingering, I was a dynamics ignorer for a long time.  I like to think that had I only started with a course of study that I would have developed dynamics earlier. 

I credit Drew Freck with having me focus on adding dynamics to my playing.  I now even do exercises to try and build my control even better. 

Jody mentioned a frozen hand. The recordings do not reflect live performance of the classic era,  Ossman even complained about the lack of dymancis in recording work. "You have to pick hard and keep the same volume of tone all through a piece. There is no light
and shade possible under the phonographic conditions".

For banjoists who were not recording (most of 'em), dynamic control was very important.  I am not sure where this "frozen hand" thing comes from, the recordings only represent the few who made them in the conditions which they were made.

Take this from S. S. Stewart:

"But no rule can be given that will absolutely govern the particular place upon the Banjo-head for the little finger to rest, (nor is it absolutely necessary in some cases to rest the finger at all) ; it being observed that the nearer to the bridge the strings are picked, the more acute will be the tone produced ; and by moving the hand a short distance away from the bridge, the more melodious and and full are the chords produced, until we have passed a certain limit, where the strings are found to be much easier to manipulate by reason of picking them farther from the nodes or points of vibration (the nut and bridge — or the frets at which the left hand stops the strings, and the bridge) and then the tone produced is found to be softer and much less acute.

These varied degrees of tone possible to produce on the instrument, place within our reach the power of giving much expression to our music, and without the aid of either loud or soft pedals.

By training the musical ear and by training at the same time the hands to obey the will, and further by a just and systematic philosophical study of our instrument and its music, we can arrive at a correct judgment in musical conception and execution, and then instead of rendering only a few semi- barbarous tunes on the Banjo, we bring forth a higher class of music — proceeding thus until our favorite instrument has taken rank by the side of the harp and kindred instruments. The music is in our instrument, the Banjo, and this fact is being more and more acknowledged, as the instrument becomes known and understood."

[Jody Stecher]

I agree with all of that Joel. I think it is close to a miracle to hear just how much light and shade and dynamics can be heard in the recordings of Ossman. More than one would think possible under those recording conditions.

Where does the frozen hand position thing come from? Watch the videos of Tarrant Bailey Jr for instance. He does occasionally move his right hand towards the neck for a few seconds but there is no audible change in timbre.

[Joel Hooks]

Hi Jody, I'd like to refer you back to Gordon Dando's video and the observations you posted to that discussion.  I do not believe that the Pathe films of TBJ accurately represent what you would see and hear at a live concert.  This also comes from descriptions of his playing from people who knew him.

Eli Kaufman told me that when he asked TBJ why he played so fast and hard in those films the answer was "because I (TBJ) could".  Make of that what you will. 

[Jody Stecher]

Good point.  But there was a reason I was surprised that the older players moved their right hands.  I had seen/heard quite a bit of the opposite in younger ones.

Joel Hooks said:

Hi Jody, I'd like to refer you back to Gordon Dando's video and the observations you posted to that discussion.  I do not believe that the Pathe films of TBJ accurately represent what you would see and hear at a live concert.  This also comes from descriptions of his playing from people who knew him.

Eli Kaufman told me that when he asked TBJ why he played so fast and hard in those films the answer was "because I (TBJ) could".  Make of that what you will. 

[Joel Hooks]

Yes, I was guilty of total dynamic neglect.  I played everything FF.   I also had basically no guidance for my playing and arrogantly thought I could just figure it all out on my own.

It was by going to ABF rallies that I saw the errors.  Hearing others who did have dynamic control was a very light bulb moment.  This was fanned by Drew Frech's advice to me in exaggerated practice (working in extremes of dynamics during personal practice).

I've still got a long way to go to be able to effectively apply dynamic control in my playing, but I feel I am improving. 

My biggest problem is I tend to slow down when I play p or pp and speed up when I play f or ff.  So I put in more time with the metronome. 

[Jody Stecher]

I see that problem with my students sometimes. Loud & Fast and Quiet & Slow tend to adhere.  At least you know you are doing it.   10 years ago my biggest problem was whenever I would play tremolo on mandolin I would stop breathing!  Deliberate breathing was not a viable solution. What worked was Refraining From Not Breathing. 

The metronome tells you that you are speeding or slowing. But it doesn't solve the problem. The solution is likely to be via a subtle mental move. The goal is to un-hitch speed from dynamics. At present they are bound together.  You can find the glue and melt it.  

Joel Hooks said:

Yes, I was guilty of total dynamic neglect.  I played everything FF.   I also had basically no guidance for my playing and arrogantly thought I could just figure it all out on my own.

It was by going to ABF rallies that I saw the errors.  Hearing others who did have dynamic control was a very light bulb moment.  This was fanned by Drew Frech's advice to me in exaggerated practice (working in extremes of dynamics during personal practice).

I've still got a long way to go to be able to effectively apply dynamic control in my playing, but I feel I am improving. 

My biggest problem is I tend to slow down when I play p or pp and speed up when I play f or ff.  So I put in more time with the metronome.