Song List:
Part One - Physical Exercises
General Health And Well-Being
Scheduling The Practice Session, The Practice Schedule8
The Practice Studio
Top Ten Errors
Holding The Banjo
Proper Right Hand Position
Ex. 1: Proper Finger Motion Of The Picking Hand
Ex. 2: Proper Thumb Motion Of The Picking Hand
Anchoring The Right Hand
Efficient Right Hand Finger Movement
Ex. 3: Correcting Excess Finger Movement
Efficient Right Hand Thumb Movement
Ex. 4: Correcting Excess Thumb Movement In The Third Joint
Ex. 5: Correcting Excess Thumb Movement In The Second Joint
Ex. 6: Playing Air Banjo 17 Depth Control
Ex. 7: Depth Control - Seeing The String Plane
Ex. 8: Depth Control - Using Training Picks
The Release
Ex. 9: Perpendicular Striking
The Downward Attack
The Arc Of The Pick Blade
Tonal Variation
Ex. 10: Tonal Variation
Proper Left Hand Position
Ex. 11: Left Hand Fingering Pressure
Ex. 12: Left Hand Fingering Pressure
Left Hand Finger Placement
Maintaining The Left Thumb Anchor Point In The First Position
Ex. 13: Maintaining The Left Thumb Anchor Point
Ex. 14: Maintaining The Left Thumb Anchor Point
Assigning Left Hand Fingers
Using a Metronome
Ex. 15: Metronome Training, Quarter Notes
Ex. 16: Metronome Training, Eighth Notes
Ex. 17: Metronome Training, Alternating Thumb Roll
Ex. 18: Metronome Training, Forward Roll #1
Ex. 19: Metronome Training, Mixing Values With The Alternating Thumb Roll
Ex. 20: Metronome Training, Mixing Values With The Alternating Thumb And Forward Rolls
Ex. 21: Metronome Training, Mixing Values With Sixteenth Note Ornamentation
Ex. 22: Metronome Training, Two-Measure Forward Roll, One Click Per Measure
Assigning Left Hand Fingers
Ex. 23: Assigning Left-Hand Fingers
Fast Position Changing
The Eye Leading The Hand
The Guide Finger
Ex. 24: Thumb Anchor And Assigning Left-Hand Fingers, Sequential
Ex. 25: Thumb Anchor And Assigning Left-Hand Fingers-Up Four, Down Three/Down Four, Up Three
Ex. 26: Position Changing,, Far To Near/Near To Far
Ex. 27: The Guide Finger/Fast Position Changing, You Are My Sunshine
Ex. 28: The Guide Finger/Fast Position Changing, The Girl I Left Behind Me
The Index And Ring System For Playing Upper Neck Scruggs Style
Ex. 29: Two-String G Formations, Four-Beat Changes
Ex. 30: Two-String G Formations, Two-Beat Changes
Ex. 31: Two-String G, C And D Formations, Two-Beat Changes
Ex. 32: Two-String Formations, G Major Scale With Flatted Thirds And Sevenths
Ex. 33: First Position To Eighth Position Change
Ex. 34: Fast Position Changing, G, C, D Triads, Sequential
Ex. 35: Fast Position Changing, G, C, D Triads, Patterns
Ex. 36: Fast Position Changing, F Formation Vamp, G, C, D
Ex. 37: Fast Position Changing, F Formation/D Formation Split-Bar Vamp, G, C, D
Ex. 38: Fast Position Changing, F Formation/Bar Formation Split-Bar Vamp, G, C, D
Ex. 39: Fast Position Changing, F Formation/D Formation Pinch/Roll Split-Bar Vamp, G, C, D
Ex. 40: Fast Position Changing, Bugle Call Rag Vamp Lick.
Developing Finger And Hand Strength
Ex. 41: Left-Hand Finger Strengthening
Ex. 42: Individual Left-Hand Finger Strengthening
Ex. 43: Right-Hand Finger Strengthening
Ex. 44: Right Thumb Strengthening
Ex. 45: Finger Sequences
Using Right Hand Digits On Unfamiliar Strings
Ex. 46: Crossing Over
Ex. 47: Crossing Over With Melody Line Added (Pedal Point Technique)
Ex. 48: Crossing Over On Ascending Strings 39
Ex. 49: Crossing Over On Descending Strings
Ex. 50: Crossing Over, Open String Arbitrary String Selection
Ex. 51: Crossing Over, Descending Diatonic Triads, Ascending Diatinoc Triads
Ex. 52: Crossing Over, Descending Arpeggios, Ascending Diatinoc Triads
Ex. 53: Crossing Over, Ascending Seventh Chords
Ex. 54: Crossing Over, Descending Seventh Chords
Changing Among Chord Formations Efficiently
The Collapsed Ring Finger Bar
Ex. 55: Changing Between The F Formation And Bar Formation
Ex. 56: F Formation/Bar Formation 1-4-5 Vamping Pattern
Ex. 57: Changing Between The D Formation And Bar Formation
Ex. 58: D Formation/Bar Formation 1-4-5 Vamping Pattern
Ex. 59: Bar Formation/D Formation 1-4-5 Vamping Pattern
Ex. 60: Changing Between The F Formation And D Formation
Ex. 61: D Formation/F Formation 1-4-5 Vamping Pattern
Ex. 62: F Formation/D Formation 1-4-5 Vamping Pattern
Ex. 63: Changing Among The F, D And Bar Formations At The Same Position
Shape-Coded Diagrams For Diatonic Triads
Chord Numbering For Easy Reference
The Major Chord Formation Map, Chord Numbering, The Consecutive Major Chord Formation Formula
Ex. 64: All G C And D Formations In Sequence
Part Two - Musical Exercises
Three-Finger Banjo Styles Defined
Basic Scruggs Rolls
Ex. 65: Basic Scruggs Rolls, Gaining Speed
Ex. 66: Basic Scruggs Rolls, Focusing On Every Note, Equal Emphasis
Ex. 67: Basic Scruggs Rolls, Emphasis On First Downbeat
Ex. 68: Basic Scruggs Rolls, Emphasis On First And Fourth Downbeat
Ex. 69: Basic Scruggs Rolls, Emphasis On First, Third And Fourth Downbeat - Forward Roll #1
Ex. 70: Basic Scruggs Rolls, Emphasis On First, Third And Fourth Downbeat - Forward Roll #2
Ex. 71: Basic Scruggs Rolls, Emphasis On First Upbeat
Common Rhythms In Scruggs Style
Ex. 72: Basic Scruggs Rolls, Second Note Of Roll Omitted
Ex. 73: Basic Scruggs Rolls, Eighth Note Of Roll Omitted
Ex. 74: Basic Scruggs Rolls, Second And Eighth Note Of Roll Omitted
Ex. 75: Basic Scruggs Rolls, Alternating Thumb Roll, Second Note Of Roll Omitted
Two-Measure Scruggs Rolls
Ex. 76: Two-Measure Rolls
Post- Scruggs Rolls
Rolls In 3/4 Meter
Syncopation
Ex. 77: Syncopation, Three-Note Forward Roll Repeated
Ex. 78: Syncopation, Foggy Mountain Roll
Ex. 79: Syncopation, Foggy Mountain Lick
Ex. 80: Syncopation, Two Measure Forward-Backward Roll
Bounce Spacing
Ex. 81: Bounce Spacing, Alternating Thumb Roll
Ex. 82: Bounce Spacing, Forward Roll #1
Ex. 83: Bounce Spacing, Two-Measure Forward Roll #1
Ex. 84: Bounce Spacing, Two-Measure Forward Roll #2
Ex. 85: Bounce Spacing, Playing An Arrangement With A Bounce
Basic Left Hand Technique
Ex. 86: Avoidingexcess Finger Pressure
Ex. 87: Minimizingt Finger Pressure
Slides 62
Ex. 88: The Slide Maneuver
Ex. 89: Common Slides
Ex. 90: Controlling The Duration Of The Slide Maneuver
Ex. 91: Common First Position Slide Licks
Lone Slides
Ex. 92: Lone Quarter Note Slides ..65
Ex. 93: Other Common Lone Quarter-Note Slides
Ex. 94: Lone Eighth-Note Slides, All G Chord Tones
Common Sixteenth-Note Slides
Ex. 95: First Position Sixteenth-Note Slides With Fills
Ex. 96: Other Common Slide Licks
Ex. 97: Double Slides
Descending Slides
Ex. 98: Ascending/Descending Double Slides
Ornamental Slides
Ex. 99: Ornamental Slide Into D Formation Fill Lick
Ex. 100: Ornamental Slide With Split-Bar Vamping
Ex. 101: Mixing Common Slide Licks
Hammers
Ex. 102: Common Lone Eighth-Note Hammers
Ex. 103: Mixing Lone Eighth-Note And Sixteenth-Note Hammers
Ex. 104: First Position Eighth-Note Hammers With Fills
Ex. 105: First Position Sixteenth-Note Hammers With Fills
Ex. 106: Eighth-Note Hammers, All G Major Chord Tones
Ex. 107: Hammers With Two-String G, C And D Formations
Ex. 108: Drill: Left Hand Maneuvers, Golden Slippers With Slides And Hammers
Ex. 109: Common Hammer Licks Repeated
Double Hammers
Ex. 110: First Position Double Hammers
Ex. 111: Mixing Common Hammer Licks
Pulls
Ex. 112: First Position Lone Eighth-Note Pulls
Ex. 113: First Position Eighth-Note Pulls With Fills
Ex. 114: First Position Sixteenth-Note Pulls With Fills
Ex. 115: Eighth-Note Pulls, All G Major Chord Tones
Ex. 116: First Position Double Pulls
Ex. 117: Common Pull Licks Repeated
Ex. 118: Mixing Left-Hand Maneuvers To Create Common Scruggs Ornamental Licks
Ex. 119: Playing An Arrangement With Left-Hand Maneuvers, Amazing Grace
Bends
Ex. 120: Foggy Mountain Bend Lick
Ex. 121: Foggy Mountain Bend Lick, Extrapolated
Bending Wth Multiple Fingers
Whole Tone Bends
Ex. 122: A To B Bend
Half Tone Bends
Ex. 123: A To Bb Bend
Ex. 124: Controlling The Release
Ex. 125: Third String Bend Drill
Ex. 126: Triplet Bend/Release Drill
Half Tone Quarter Note Bends
Ex. 127: G Major Scale Using Bends
Ex. 128: Blues Guitar Whole Tone Bend Lick In A
Ex. 130: Playing An Arrangement With Bends, Auld Lang Syne
Changing Chords Efficiently
Changing Positions With The F Formation
Ex. 131: Locating F Formation Chords Using Fourth String Roots
Transposing Between Keys
Ex. 132: 1-4-5 Progression In Seven Major Keys Using F Formation And Bar Formation
Ex. 133: 1-4-2-5 Progression In Seven Major Keys Using F Formation And Bar Formation
Ex. 134: 1-6-2-5 Progression In Seven Major Keys Using F Formation And Bar Formation
Ex. 135: 1-3-6-2-5 Progression In Seven Major Keys Using F Formation And Bar Formation
Altering The Major Forms To Create Minor And Seventh Chords
Ex. 136: Using Minor And Dominant Seventh Voicings For The 2, 3 And 6 Functions
Ex. 137: Using Major Seventh And Minor Seventh Voicings For All Functions
Single String Technique
Ex. 138: Pike County Breakdown Lick Extended
Ex. 139: F Formation Single String Fill Lick, Twelve Bar Blues Progression
Basic Scales In Single String Technique
Ex. 140: The G Major Scale
Ex. 141: One Octave Major Scale In All Twelve Keys
Ex. 142-149: One Octave G - Rooted Scales
Ex. 150: G Major Scale, Two Octaves
Ex. 151: G Natural Minor Scale, Two Octaves
Ex. 152: G Harmonic Minor Scale, Two Octaves
Ex. 153: G Melodic Minor Scale, Two Octaves
Ex. 154: G Dominant Seventh Scale, Two Octaves
Ex. 155: G Chromatic Scale, Two Octaves
Ex. 156: G Diminished Scale, Two Octaves
Ex. 157: G Augmented Scale, Two Octaves
Ex. 158: G Blues Scale, Two Octaves
Fretboard Forms For G Major Scale Tones
Ex. 159: Tablature: Fretboad Forms For G Major Scale Tones
Ex. 160: Locating Major, Minor And Seventh Roots In The Fretboard Forms
Ex. 161: Visualizing The Diatonic Triads Within The Fretboard Forms
Ex. 162: Visualizing Seventh Chords Within The Fretboard Forms
Ex. 163: One Octave Major Scale, Ascending And Descending, Shift One Scale Degree.
Ex. 164: 1234, Shift Sequence Up One Scale Degree
Ex. 165: 4321, Shift Sequence Down One Scale Degree
Ex. 166: 1231, Shift Sequence Up One Scale Degree
Ex. 167: 3213, Shift Sequence Down One Scale Degree
Ex. 168: 132435 Etc. Ascending/534231 Etc. Descending
Ex. 169: Eighth-Note Triplets Ascending And Descending
Vertical Scales
Ex. 170-172: G Major Scale, G Minor Scale, G Seventh Scale, All Strings, Vertical
Dyads And Double Stops
Ex. 173-175: Dyads In Thirds, All Strings, Vertical
Plotting Scales Vertically
Ex. 176-180: Plotting G Major Scale On All Strings Vertically.
The Collapsed-Finger Bar
Ex. 181-182: Collapsed-Finger - Double-Stop, Blues Dyad F Formation Drill
Ex. 183-185: 1234, 4321 Shift One Scale Degree, Vertical, All Strings
Ex. 186-189: 1231 Shift One Scale Degree, Vertical, All Strings1
Ex. 190-192: 1231 Shift One Scale Degree, Vertical, With Variations, Pedal Point
Ex. 193-194: G Major Scale Sequences, Ascending And Descending, Using Pedal Point Technique
Modes
Ex. 195-196: Modes Of G Major, Plotted Horizontally And Vertically
Integrating Scales And Chords
Ex. 197-198: Major Scales With Diatonic Triads, Diatonic Triads On All Chord Tones
Ex. 199-200: Major Scales With Seventh Chords, Seventh Chords On All Chord Tones
Ex. 201-202: Minor Scales With Diatonic Triads, Diatonic Triads On All Chord Tones
Ex. 203-205: G Augumentedarpeggio, Whole Tone Scales W/Aug. 5Th Chords, Aug 5Th On Chord Tones
Ex. 206-208: G Dim. 7Th Arpeggio, Dim. 7Th Scales With Chords, Blues Scales With Triads
Single String Licks Based On Chord Formations
Ex. 209-211: Sidestepping G, C, D Chord Progressions - Major Formations
Extrapolating Single String Licks Based On Chord Formations
Ex. 212-214: Sidestepping G, C, D Chords-Major Formations
Ex. 215-217: Up One, G, C, D Chord - Bar, F And D Formations
Ex. 218-220: Up One, G, C, D Chords
Ex. 221-222: Moveable Licks Based On F And D Formations
Ex. 223-224: Moveable Licks Based On Bar Formations And Multiple Formations
Chord Scales
Ex. 225-227: Chord Scale Drills, Diatonic Triads
Ex. 228-229: Chord Scale Drills, Seventh Chords
The Carroll Best Formation
Ex. 230-235: Carroll Best Formation Drills
Melodic style
Ex. 236-251: Melodic Style Scale Fragments, Scale Fragments Extended
Scales In Melodic Style, Using A Capo In Melodic Style
Ex. 252-258: One Octave Major Scales
Ex. 259: Major Scales, Two-Octaves In Melodic Style
Ex. 260: G Major Scale, Shift One Scale Degree
Ex. 261: 1234/4321, Shift One Scale Degree
Ex. 262: 1231/3213, Shift One Scale Degree
Ex. 263: 12345432, Shift Two Scale Degrees
Ex. 264: 123432, Shift Two Scale Degrees
Mental Exercises
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