Brendan, I was not intending to be in any way cryptic. Though it may read that way. We see versions of this same ‘comparative difficulty’ debate from time to time.

A perspective of interest primarily in the banjo itself, rather than restricted specifically its role within the conventions of bluegrass or old time, would be far more informative in relation to creative range and technical difficulty.

The banjo in a finger-style context (modern or historical) offers exactly this meaningful comparison. Yet finger-style does not feature even when the specific subject of a technical comparison of banjo playing arises.

I’m aware that complexity does not equate to ‘better’; simplicity is often the holy grail sought by creatives in many fields. But it is rather perverse that any discussion relating to technical difficulty and the banjo, omits or is unaware of, finger-style playing that historically and consistently demonstrates greater demands on a player's technique and ability.

I first learned to play three-finger Scruggs or bluegrass. I'm a long-time OT clawhammer player. I also play fingerstyle. Fair to say that is a relevant breadth to have gained a perspective. A debate on banjo comparative difficulty without reference to fingerstyle is a bit like a debate on board games that focus on snakes and ladders and draughts (checkers) but ignores chess.

EEB I think you must have quite a rare perspective, being conversant with that many styles. Personally, I took to finger style quite naturally but found clawhammer quite awkward. My hands didn’t want to do what was required. When I hear someone like Allison de Groot playing, I am flabbergasted at the skill involved. I don’t hear a lot of jazz or classical played with clawhammer though. I’m sure someone has tried.

quote:

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Originally posted by Laurence Diehl

EEB I think you must have quite a rare perspective, being conversant with that many styles. Personally, I took to finger style quite naturally but found clawhammer quite awkward. My hands didn’t want to do what was required. When I hear someone like Allison de Groot playing, I am flabbergasted at the skill involved. I don’t hear a lot of jazz or classical played with clawhammer though. I’m sure someone has tried.

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Maybe that serves to highlight? The two techniques that today are generally presented and understood as if the only 5-string choice, are actually each the result of stylistic convention that is a cultural feature.

Yet beyond that dominant cultural assumption exists the scope of the banjo as a musical instrument independent of that narrow cultural convention. The banjo in a fingerstyle-style context has a broader history; critically a far wider geographic base and consequently is largely independent of cultural insularity and its associated stylistic convention - in much the same way as say, the violin or acoustic guitar.

This observation is prompted by a sub-text that emerged here. I don't wish to hijack an interesting thread. Maybe another thread could pick up this theme?