Clawhammer

By contrast, the thumb rests on the fifth string with the downpick motion, and is often released in a lighter up-pick to create the distinctive clawhammer sound.

Although much traditional clawhammer banjo playing is highly rhythmic, it typically includes elements of melody, harmony, rhythm and percussion.

The varied playing styles emphasize these elements to different degrees, sometimes changing the emphasis during the performance of a single tune.

This diverse range of musical sounds and effects gives clawhammer banjo its artistic solo potential in addition to its traditional role as a rhythmic accompaniment to other musicians.

In particular, the duo of a fiddler playing melody alongside a driving clawhammer accompanist once served as a basic Appalachian dance band, as recalled by Ralph Stanley in his autobiography, Man of Constant Sorrow.

Confusing the nomenclature further are the many older traditional terms which include "overhand," "knockdown", "hoedown," "down-picking," "rapping," "beating," "stroke style," and "clubbing."

This feature of clawhammer technique gives the music a heavier – and, to my ear, more natural – drive than it would have if it were played, say, as melody over an alternating bass.

Fourth, for any piece, most of the notes are produced by the left hand, in combinations of slides, hammers, and pull-offs; slurs can occur on or off the beat.

"[4] Players in this down-picking style include Jody Stecher, Barbecue Bob, Ola Belle Reed, Alec Stone Sweet, Steve Baughman, and Michael Stadler.