By Pete Wernick

Article with photos taken 2002
CD Review

FINGERS ON BANJO HEAD is a topic I care about, as mis-information on it has led people to waste a lot of time in learning banjo, even prompted some to give up the instrument.

I suggest that in the matter of “which fingers should go on the banjo head”, there are no blanket rules other than the principles of “good sound” and “comfort”. Your ears and your hands tell you when it’s working right, and not someone else’s “here’s how everyone does it”. (This goes for picks, string gauges, bridge heights, even banjo brands, etc., as well.)

There is data to support that there is no “one way”. About 1987, in working on Masters of the Five String Banjo I interviewed (some by mailed questionnaire) over 50 top professionals from among the players covered in the book. Though most plant two fingers on the head while picking, a sizable minority (about a third, I recall) use just one, and there is no unanimity on which finger, either. Among the pickers in this latter group are Doug Dillard, Vic Jordan, Pat Cloud, Lynn Morris, Alan O’Bryant and over a dozen other famous pros.

I liken the topic to “which is better, lefty or righty?” In not-too-bygone days it was common wisdom to force people who wrote lefty to change. Of course we now know that being lefty is OK, just less common. Being righty isn’t better, just more common. If it’s not better, why try to change? Consider the possible drawbacks, including diverting valuable time. I feel playing music should feel as natural as possible. Go with what works. Individualising technique can be a good thing, leading to growth and diversity in music. (It’s good no one ever told Bill Monroe not to sing in B, or that he did it regardless).

Isn’t the bottom line is to sound good? And don’t the above-named pros sound good? Therefore, planting one finger must allow good tone, good stability for timing and sound, etc., etc.,

In teaching, I occasionally suggest alternative hand positions for a player having difficulty getting good sound, or who picks awkwardly. As often as not, this involves getting him or her to *stop* trying to keep both fingers on the head. Almost always they answer they’ve been told “this is the way it’s done”. Most always, after being told not to worry about it they breathe a deep sigh of relief and commence to start having an easier time picking. Often the change is dramatic and instantaneous.

Given this experience, I feel that those trying to get others to change the number of fingers on the head should ‘cease and desist’. Their intentions are obviously good, but this advice does a disservice to the people they’re trying to help. To me it’s sad to see people struggle with their playing - having less fun, making slower progress, sometimes for years, for no good reason. It has led people to give up the instrument entirely, often by dulling their motivation. Some have even told me they had been specifically advised to give up the instrument because of their inability to keep both fingers planted. This is disheartening to hear, and so I whenever I can I try to make the above information known.

Unfortunately the report of these findings, which was intended for inclusion in Masters of the Five String, was left out due to an error on the publishers’ end. At some point I hope to make it available for publication, but I think this post gets into the meat of the matter (“Do what sounds good and is comfortable. People who plant both fingers are comparable to “righties”, and those planting one finger to “lefties”.).

I know that my position on this topic may currently seem a bit unusual. For the sake of the struggling oppressed banjo minority-within-a-minority, I hope it becomes a lot less unusual.

Incidentally, I’m a two-finger-planter, myself.

Pete Wernick, Niwot, Colorado, USA. “The Dr. For What Ails Ya”
Write to: pwernick1@aol.com   CD Review

Updated 23rd Jan 1999