Contents:

• About the Author
• About this Book

PART ONE - PHYSICAL EXERCISES

• General Health and Well-Being
• Scheduling the Practice Session, The Practice Schedule
• 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”
• 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 #125
• 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
• 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 Techniques
• Ex. 86: AvoidingExcess Finger Pressure
• Ex. 87: Minimizingt Finger Pressure
• Slides
• 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
• 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. 129 Blues Guitar Bend Lick Extended
• 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 Strings
• 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 Chords125
• 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
• Other Publications by Jack Hatfield