How many people actually play this style?

[Austin]

I'm curious. How many people even know about it? It seems rare to find someone who does.

[Richard William Ineson]

It would be difficult if not impossible, to find out how many people in the world play the banjo in the classic style, Ian, who runs this site, Joel Hooks who I think is in charge of the American Banjo Fraternity, and whoever is in charge of the British B.M.G. Federation might be able provide some actual figures.  The figures will definitely be very low, probably less than 500, worldwide, the main concentrations of 'classic banjo' fans worldwide, I would think, are in the USA and the UK, there is a sprinkling in France and other European countries, and I know of one CB player, who lives in Borneo. The UK players of which I have knowledge, tend to keep to themselves and are rarely seen and definitely not heard very often (assuming that they are still alive). There used to be three banjo magazines/newsletters in the UK which helped to keep CB players in touch with each other, but they are no longer published. On the philosophical side, it is difficult to do anything on this planet and be certain that somebody somewhere else on this planet  isn't doing the same thing, but when you play, say, something like George Gregory's 'L'Infanta' march, you can be almost certain that you will be the only person on the planet who is doing it.

[Joel Hooks]

We have about 300 members in the ABF.  I  believe that the majority do not play classic banjoists.  We have a number of what I call perpetual beginners.  These folks play for years and even decades and don’t really advance very much past beginner level pieces.  There is nothing wrong with this and they seem to enjoy themselves.  

There are a lot of people who have banjo skills in other folk or bluegrass styles and hear a classic piece and want to learn it.  These will spend months working out one piece by tab or ear.  Often they will repeat this exercise a few more times but never build any foundation and don’t learn to read (which comes with the foundation).  While they will be able to play one or a few pieces, they do not have the ability to play accompaniments (perhaps they don’t have the desire) or collaborate with others beyond the solo parts they know.

The very few put in the effort to learn the fundamentals, reading, alternate fingering, and accompaniment playing.  These are the ones I would call “classic banjoists”.

Speaking for myself, I am a “banjo enthusiast”.  My enthusiasm is focused on the stroke style and classic eras.  I enjoy banjos by playing at a hobby level.  This allows me to also read, interpret, interact and enjoy period documents.  I feel this ability provides insight that “folk historians” of the banjo lack, and perhaps why many of them ignore or dance around the classic era.  This is what I enjoy, but I am not a concert level player, and don’t ever expect to be that good.  I have a day job.

[Jody Stecher]

Yes, such people exist. I don't know if they are the majority or minority. But skilled ear players are perfectly able to play accompaniment to most banjo solos. They are not able to *read* the written score but they can provide spontaneous 2nd banjo parts. This is *because* they are ear players. The ability to hear and comprehend chord changes comes with the territory. I have interacted with such people all my life. They are not rare. Maybe the bumblers are greater in number.

By the way, speaking as a professional musician, to date I have met exactly one (1) professional banjoist from the old-time and bluegrass fields who disparages   classic banjo music. All the others are well beyond open-minded. They are enthusiastic. One pro bluegrass banjoist is even a collector of cylinder recordings of this banjo music. Another one, a veritable icon of bluegrass banjo loved the Fred Bacon recording of Massa's In The Cold Cold Ground that he made sure everyone he met got to hear the recording.  And it was one of the very best old time players who introduced me to the recordings of Ossman and Van Eps.

I have also met one (1) vernacular music scholar who was dismissive of classic banjo music.  All the rest have been inclusive and positive in attitude. 

Joel Hooks said:

We have about 300 members in the ABF.  I  believe that the majority do not play classic banjoists.  We have a number of what I call perpetual beginners.  These folks play for years and even decades and don’t really advance very much past beginner level pieces.  There is nothing wrong with this and they seem to enjoy themselves.  

There are a lot of people who have banjo skills in other folk or bluegrass styles and hear a classic piece and want to learn it.  These will spend months working out one piece by tab or ear.  Often they will repeat this exercise a few more times but never build any foundation and don’t learn to read (which comes with the foundation).  While they will be able to play one or a few pieces, they do not have the ability to play accompaniments (perhaps they don’t have the desire) or collaborate with others beyond the solo parts they know.

The very few put in the effort to learn the fundamentals, reading, alternate fingering, and accompaniment playing.  These are the ones I would call “classic banjoists”.

Speaking for myself, I am a “banjo enthusiast”.  My enthusiasm is focused on the stroke style and classic eras.  I enjoy banjos by playing at a hobby level.  This allows me to also read, interpret, interact and enjoy period documents.  I feel this ability provides insight that “folk historians” of the banjo lack, and perhaps why many of them ignore or dance around the classic era.  This is what I enjoy, but I am not a concert level player, and don’t ever expect to be that good.  I have a day job.

[Austin]

Any good banjoist should be able to improvise accompaniment in my opinion, but playing solos by ear is a bit different.

Jody Stecher said:

Yes, such people exist. I don't know if they are the majority or minority. But skilled ear players are perfectly able to play accompaniment to most banjo solos. They are not able to *read* the written score but they can provide spontaneous 2nd banjo parts. This is *because* they are ear players. The ability to hear and comprehend chord changes comes with the territory. I have interacted with such people all my life. They are not rare. Maybe the bumblers are greater in number.

By the way, speaking as a professional musician, to date I have met exactly one (1) professional banjoist from the old-time and bluegrass fields who disparages   classic banjo music. All the others are well beyond open-minded. They are enthusiastic. One pro bluegrass banjoist is even a collector of cylinder recordings of this banjo music. Another one, a veritable icon of bluegrass banjo loved the Fred Bacon recording of Massa's In The Cold Cold Ground that he made sure everyone he met got to hear the recording.  And it was one of the very best old time players who introduced me to the recordings of Ossman and Van Eps.

I have also met one (1) vernacular music scholar who was dismissive of classic banjo music.  All the rest have been inclusive and positive in attitude. 

Joel Hooks said:

We have about 300 members in the ABF.  I  believe that the majority do not play classic banjoists.  We have a number of what I call perpetual beginners.  These folks play for years and even decades and don’t really advance very much past beginner level pieces.  There is nothing wrong with this and they seem to enjoy themselves.  

There are a lot of people who have banjo skills in other folk or bluegrass styles and hear a classic piece and want to learn it.  These will spend months working out one piece by tab or ear.  Often they will repeat this exercise a few more times but never build any foundation and don’t learn to read (which comes with the foundation).  While they will be able to play one or a few pieces, they do not have the ability to play accompaniments (perhaps they don’t have the desire) or collaborate with others beyond the solo parts they know.

The very few put in the effort to learn the fundamentals, reading, alternate fingering, and accompaniment playing.  These are the ones I would call “classic banjoists”.

Speaking for myself, I am a “banjo enthusiast”.  My enthusiasm is focused on the stroke style and classic eras.  I enjoy banjos by playing at a hobby level.  This allows me to also read, interpret, interact and enjoy period documents.  I feel this ability provides insight that “folk historians” of the banjo lack, and perhaps why many of them ignore or dance around the classic era.  This is what I enjoy, but I am not a concert level player, and don’t ever expect to be that good.  I have a day job.

[Austin]

I hope I'm not a perpetual beginner... Okay so the general consensus seems like impossible to know for sure, but also sub 5,000 skilled players.

Joel Hooks said:

We have about 300 members in the ABF.  I  believe that the majority do not play classic banjoists.  We have a number of what I call perpetual beginners.  These folks play for years and even decades and don’t really advance very much past beginner level pieces.  There is nothing wrong with this and they seem to enjoy themselves.  

There are a lot of people who have banjo skills in other folk or bluegrass styles and hear a classic piece and want to learn it.  These will spend months working out one piece by tab or ear.  Often they will repeat this exercise a few more times but never build any foundation and don’t learn to read (which comes with the foundation).  While they will be able to play one or a few pieces, they do not have the ability to play accompaniments (perhaps they don’t have the desire) or collaborate with others beyond the solo parts they know.

The very few put in the effort to learn the fundamentals, reading, alternate fingering, and accompaniment playing.  These are the ones I would call “classic banjoists”.

Speaking for myself, I am a “banjo enthusiast”.  My enthusiasm is focused on the stroke style and classic eras.  I enjoy banjos by playing at a hobby level.  This allows me to also read, interpret, interact and enjoy period documents.  I feel this ability provides insight that “folk historians” of the banjo lack, and perhaps why many of them ignore or dance around the classic era.  This is what I enjoy, but I am not a concert level player, and don’t ever expect to be that good.  I have a day job.

[Joel Hooks]

Why play accompaniment when you can show off your blazing fireworks on three solos?

[Joel Hooks]

I like when Paul Cadwell was playing a medley on Rainbow Quest and modulates keys, Seeger has no problems but Hedy looks very confused and reaches for he capo.  Pete starts to call out the key for her.

[Jody Stecher]

Because every good soloist I've met is a good accompanist and likes accompanying and every great soloist I've met is a great accompanist and loves accompanying.

Joel Hooks said:

Why play accompaniment when you can show off your blazing fireworks on three solos?

[Jody Stecher]

1) Exactly. Pete Seeger was an ear player. Hedy West was a classically trained note-reader, an "eye player". Without the dots she was lost.

2) Why do you like that?

Joel Hooks said:

I like when Paul Cadwell was playing a medley on Rainbow Quest and modulates keys, Seeger has no problems but Hedy looks very confused and reaches for he capo.  Pete starts to call out the key for her.

[Jody Stecher]

I should add that Seeger was musically literate as well but primarily an ear player.

Jody Stecher said:

1) Exactly. Pete Seeger was an ear player. Hedy West was a classically trained note-reader, an "eye player". Without the dots she was lost.

2) Why do you like that?

Joel Hooks said:

I like when Paul Cadwell was playing a medley on Rainbow Quest and modulates keys, Seeger has no problems but Hedy looks very confused and reaches for he capo.  Pete starts to call out the key for her.

[Jody Stecher]

Where in the episode does that occur? Is this the episode with John Hurt, Hedy West and Paul Cadwell? 

Joel Hooks said:

I like when Paul Cadwell was playing a medley on Rainbow Quest and modulates keys, Seeger has no problems but Hedy looks very confused and reaches for he capo.  Pete starts to call out the key for her.

[Richard William Ineson]

Sub 500, not sub 5000

Austin said:

I hope I'm not a perpetual beginner... Okay so the general consensus seems like impossible to know for sure, but also sub 5,000 skilled players.

Joel Hooks said:

We have about 300 members in the ABF.  I  believe that the majority do not play classic banjoists.  We have a number of what I call perpetual beginners.  These folks play for years and even decades and don’t really advance very much past beginner level pieces.  There is nothing wrong with this and they seem to enjoy themselves.  

There are a lot of people who have banjo skills in other folk or bluegrass styles and hear a classic piece and want to learn it.  These will spend months working out one piece by tab or ear.  Often they will repeat this exercise a few more times but never build any foundation and don’t learn to read (which comes with the foundation).  While they will be able to play one or a few pieces, they do not have the ability to play accompaniments (perhaps they don’t have the desire) or collaborate with others beyond the solo parts they know.

The very few put in the effort to learn the fundamentals, reading, alternate fingering, and accompaniment playing.  These are the ones I would call “classic banjoists”.

Speaking for myself, I am a “banjo enthusiast”.  My enthusiasm is focused on the stroke style and classic eras.  I enjoy banjos by playing at a hobby level.  This allows me to also read, interpret, interact and enjoy period documents.  I feel this ability provides insight that “folk historians” of the banjo lack, and perhaps why many of them ignore or dance around the classic era.  This is what I enjoy, but I am not a concert level player, and don’t ever expect to be that good.  I have a day job.