Pete Wernick

Pete Wernick (Niwot, CO) is renowned worldwide for his accomplishments and contributions to bluegrass music: the hot-picking force in several trend-setting bands including Hot Rize, innovative teacher and author, songwriter, and long-term President of the International Bluegrass Music Association. Always active in the teaching of banjo and bluegrass, Pete was the original pioneer of bluegrass music camps in the early 1980s. Having since taught about 200 camps in about half of the U.S. states and three other countries, he continues to host several per year. In 2010, he launched the Wernick Method of teaching bluegrass jamming which as of 2021 has certified over 100 teachers offering classes in 46 states and 11 countries. See Pete’s full bio.

Accordion in Bluegrass

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Ed in Colorado writes: I live in Lyons, where there is plenty of bluegrass throughout the year. But I play accordion. Is there any opportunity to get into the bluegrass scene or attend the free jam session class you offer? I have been playing fiddle tunes on accordion, and think there is a place for it to add some nice layers to the typical bluegrass string sound. What do you think?

Interesting question and suggestion, Ed. There’s no official rule book on bluegrass besides precedent and especially: Did Bill Monroe do it? Ultimately it’s up to the listeners and players in any context, whether Lyons or the Midwinter Festival at the upcoming jam I host.

My own opinion is pretty flexible. I think about any good sensitive musician can add to bluegrass on almost any instrument (not tuba or didgeridoo or gongs), if they do it with good taste and at an appropriate volume.… More Info!

Remembering New Chord Progressions While Jamming

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Dave on the banjo-l list, asks: When a song is played that you don’t know, how do you:

1. Remember the chord progression?
2. If you don’t know the chord progression when you start, then how do you play backup to it?

Dave,

Starting with #2: Look at the guitar player’s left hand. If he/she is capoed in the same place as you, just match their chords. If there’s more than one guitar player, pick the one you think is most dependable, and you can see best. If you don’t have a view of a guitarist’s left hand, then move to where you do.

Now #1: Folks on the list have already pointed out the value of learning chord progressions in terms of the simple number system, 1, 4, 5 and so on.… More Info!

Is Fingerpicking Guitar OK in Bluegrass?

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Michael writes: I have never used a flat pick before. Of course I will pick up a couple at my local store (before the Jam Camp). However, getting used to it may be difficult. I am afraid it will sound pretty ragged.

Dear Michael,

I surely understand. In fact, there are a few rhythm guitar players (including Delbert Williams, a very respected California musician), who do use a thumb pick, in the style of some of the earliest bluegrass guitar players, such as Lester Flatt and Carter Stanley. But these exceptions are rare.

I would say a flat pick is not *necessary* for bluegrass, but the standard way the guitar is played in bluegrass does *not* call for fingerpicking at all. Instead, it is typically a strong and clear bass note followed by a quick and clean (not noisy) brushed strum on mostly strings 1, 2, and 3.… More Info!

Which Version of Stoney Creek?

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Pam writes: Hi Pete. When I request to play Stoney Creek with a group over at this guy’s house — lets call him Jim — he always starts it, which, number one, is incorrect because it is my song request and I want to start it but anyway he proceeds to play it correct except for the end part which he puts an extra beat in it. The others go ahead when it is their turn and play it the way Jim started it. I learned it from an Eric Thompson CD which he does not put an extra beat in it.

When it comes my turn I always play it the way I learned it and then the others do also but then when it comes Jim’s turn again he plays it the other way.… More Info!

The Banjo was Too #$&#* Loud

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This one was not asked as a question, but I felt the topic is important enough to share my post in response.

Bob writes on BgnrBanjo@yahoogroups.com: A guitar player (a fellow programmer) I met here at work once played with a group that had a banjo — his comment was — the banjo was too #$&#* loud! Obviously, this banjo player wanted to be a star instead of a contributor.

I think this is probably the biggest complaint about banjo players in general, as well as the biggest reason for the continued popularity of banjo jokes, and the subtle downplaying in some quarters of the role of the banjo in bluegrass.

I can’t understand why so many banjo players speak so glowingly of *volume* as one of the primary desirable characteristics of a banjo.… More Info!

It’s About Jamming

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This article originally appeared in the June 2012 issue of Banjo Newsletter, and is also available as an easy-to-print PDF. It’s all still true today in 2024!

I love to jam. Jamming is truly “bluegrass in its most natural habitat”… more than performing (in a circle you can really see and hear each other). Bluegrass Heaven-on-Earth is when you’re in a good bluegrass jam. The teamwork and spontaneity are fun — bluegrass at its essence.

Almost all fledgling bluegrass musicians have a dream: being able to pick with others. Many new players start down the path of learning to play their instrument, and often get frustrated and quit before they ever reach their goal of playing confidently with other people.

… More Info!

Not Clutching at Jams

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Former camper Keith P. from Maryland writes: The months after the camp were the most productive and fun I’ve had with the banjo. I spent a lot of time working out breaks for Will the Circle, Long Journey Home, Bury Me Beneath the Willow (a personal favorite), Jesse James, I Saw the Light, New River Train, Worried Man, and most recently, I’ll Fly Away. A few weeks ago I was at a jam in Baltimore and an older banjo player, pretty good, was incredulous when I told him that I wasn’t using tab for my solos.

My biggest challenge is to play the breaks in a full-speed jam without choking. It is really hard to play the banjo with both hands around your own neck. I’m not entirely confident enough to jump in when jams go at the typical blistering speed.… More Info!

Harmonica in Bluegrass

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Jersey Jim writes: Hey Pete, I’ve been a campfire guitar strummer for years but never really tried to advance. (Same old stuff). What I been good at or even better than good is the harmonica. I been playing harp for 30 years and have adapted to sitting in with a lot of different styles of music Blues, folk and bluegrass mostly.

What I have experienced as a harp player is I get mixed emotions from different festivals at night time jams. Sometimes I am very much welcomed (especially if they recognize me ) and other times I can’t get a break to same my life, so I move on. I’ve even seen where musicians will pack it up and move on when I enter a circle, with caution that is. I’m thinking of taking up the banjo, just so I have more musicians I can play and work with.… More Info!

The 6m in “Will the Circle Be Unbroken”

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Mike in Colorado Springs writes: I noticed when I jam with other bluegrass players some insert an Em into WILL THE CIRCLE BE UNBROKEN (when [playing in key of G). Your JAM Songbook does not show this chord change. I was wondering if you run into this a lot?

Mike,

That’s a good and appropriate question. It does come up sometimes and there’s no simple answer. The answer is a bit nuanced, depending on who’s leading, and matters of taste.

Some people put that 6 minor chord into the song. Many don’t. I doubt that the Carter Family did — it’s just a bit on the “sophisticated” side, and they weren’t too sophisticated.

It’s possible to use different chords behind the same melody, and the melody can sound OK with either chord.… More Info!