I mostly play mandolin, which is a bit different but should be relevant.
I find it useful to use predominantly downstrokes for the quavers and save alternate picking for the semiquaver passages. However, the successive downstrokes make for a rather even rhythmic feel, so I throw in up strokes now and again for the offbeat emphasis. Also, using double stops and holding them for as long as possible can help give polkas a flowing feel, while still maintaining that relentless Sliabh Luachra pulse (although I can't guarantee that what I hear as I play is necessarily what my the listener hears).
Why am I the only person to respond to this thread? Am I missing something? (No.... If it were a wind-up, there'd be at least 60 responses by now). I'm certainly not the best qualified to advise anyone, but I
Following on from what I said about double stops, I tend to use double stopping and open strings wherever possible in polkas. Dare I say it, when it comes to polkas, I think I prioritise rhythm and texture over melodic clarity. I play all the notes in the tune, but I don't worry too much if some of them disappear behind the extra-melodic notes. For contrast, you can always leave out the double stops and open strings for the odd phrase (there will be phrases where they're not appropriate anyway)
I don't use much ornamentation (other than the aforementioned, if that can be called ornamentation) on polkas, and when I do, it's simple - upward glissando, maybe the odd cut or hammered-on triplet.
I have sometimes heard banjo players doubling every quaver in polkas - i.e. playing each quaver as two semiquavers. I find that this results in some of the rhythmic definition is lost and a polka can end up sounding like a very fast reel - besides, it's hard work. I use these 'doublings' sparingly on downbeats, as a kind of substitute for picked triplets (which I rarely, if ever, find a place for in polkas).
Polka Picking on the banjo
Re: Polka Picking on the banjo
I mostly play mandolin, which is a bit different but should be relevant.
I find it useful to use predominantly downstrokes for the quavers and save alternate picking for the semiquaver passages. However, the successive downstrokes make for a rather even rhythmic feel, so I throw in up strokes now and again for the offbeat emphasis. Also, using double stops and holding them for as long as possible can help give polkas a flowing feel, while still maintaining that relentless Sliabh Luachra pulse (although I can't guarantee that what I hear as I play is necessarily what my the listener hears).
# Posted on March 26th 2009 by CreadurMawnOrganig
Re: Polka Picking on the banjo
Why am I the only person to respond to this thread? Am I missing something? (No.... If it were a wind-up, there'd be at least 60 responses by now). I'm certainly not the best qualified to advise anyone, but I
Following on from what I said about double stops, I tend to use double stopping and open strings wherever possible in polkas. Dare I say it, when it comes to polkas, I think I prioritise rhythm and texture over melodic clarity. I play all the notes in the tune, but I don't worry too much if some of them disappear behind the extra-melodic notes. For contrast, you can always leave out the double stops and open strings for the odd phrase (there will be phrases where they're not appropriate anyway)
I don't use much ornamentation (other than the aforementioned, if that can be called ornamentation) on polkas, and when I do, it's simple - upward glissando, maybe the odd cut or hammered-on triplet.
I have sometimes heard banjo players doubling every quaver in polkas - i.e. playing each quaver as two semiquavers. I find that this results in some of the rhythmic definition is lost and a polka can end up sounding like a very fast reel - besides, it's hard work. I use these 'doublings' sparingly on downbeats, as a kind of substitute for picked triplets (which I rarely, if ever, find a place for in polkas).
# Posted on March 27th 2009 by CreadurMawnOrganig