How to Read Tablature
Chapter 1 LEARNING CHORD PROGRESSIONS BY EAR
Elements of Music
Counting Time and Determining the Location of Chord Changes
Exercise 1 - DETERMINING METER
Locating Chord Changes
Exercise 2 - LOCATING SIMPLE CHORD CHANGES
Exercise 3 - HEARING CHORD CHANGES WITHIN THE MEASURE
Simplifying the Trial-and-Error Procedure
The Diatonic Triads
The Three Basic Chords
Listening for Repetition
Listening to the Bass Player
Exercise 4 - LEARNING "BASIC THREE" PROGRESSIONS BY EAR
The Supporting Chords
Functions of the Supporting Chords
Embellishment
Substitutions
Transitions
Using the Law of Probabilities
CHORD FUNCTION PROBABILITY CHART
Exercise 5 - LEARNING PROGRESSIONS CONTAINING ONE SUPPORTING CHORD
Exercise 6 - LEARNING PROGRESSIONS CONTAINING TWO SUPPORTING CHORDS
Recognizing Chord Types
Emotional Characteristics
Consonance and Dissonance
Exercise 7 - IDENTIFYING MAJOR, MINOR, AND SEVENTH CHORD TYPES
Movement in Fourths and the Dominant Seventh Chord
Using Chord Type as a Clue 26
CHORD FUNCTION PROBABILITY CHART
CHORD TYPE PROBABILITY CHART
Chapter 2 FAKING A SOLO
Exercise 8 - FAKING SOLOS BASED ON "BASIC THREE" PROGRESSIONS
Using Phrasing Licks
Listening to the Banjo Player
Exercise 9 - USING PHRASING LICKS
Faking Solos Based on Quickly Changing Progressions
One-Beat Phrasing Licks
Exercise 10 - FAKING A SOLO BASED ON A QUICKLY CHANGING PROGRESSION
Faking a Solo in 3/4 Time
Exercise 11 - FAKING SOLOS BASED ON 3/4 TIME PROGRESSIONS
Faking Solos Based on Complex Progressions
Exercise 12- FAKING SOLOS BASED ON COMPLEX PROGRESSIONS
Blank Tablature
Chapter 3 PLAYING THE MELODY
The Structure of Three-Finger Style
Identifying the Melody
The Scale
The Trial-and-Error Procedure
Exercise 13 - IDENTIFYING SIMPLE MELODY LINES
Learning Songs by Ear from Recordings
Instrumental Introductions, Turnarounds and Solos
Pickup Notes
Endings
Intro Endings, Turnaround Endings, and Tag Line Endings
Locating First-beat Melody Notes
Exercise 14 - LOCATING FIRST-BEAT MELODY NOTES
Altering the Faked Solo to Create a Melody Oriented Solo
Exercise 15 - ALTERING A FAKED SOLO TO CREATE A MELODY ORIENTED SOLO
Identifying Last-beat Melody Notes
Exercise 16 - CREATING A FIRST-BEAT AND LAST-BEAT MELODY ARRANGEMENT 61 Locating Internal Melody Notes
Exercise 17 - CREATING A SOLO INCLUDING ALL ACCESSIBLE MELODY NOTES
Emphasizing the Melody
Omitting Fill Notes to Create Quarter Notes
Exercise 18- USING QUARTER NOTES
Using Slurs
Exercise 19 - ADDING SLURS
Creating Solos for Quickly Changing Melodies
Exercise 20 - CREATING A QUICKLY CHANGING MELODY SOLO BY EAR
Creating Melody Oriented Solos in 3/4 Time
Exercise 21 - CREATING A MELODY ORIENTED SOLO IN 3/4 TIME
Chapter 4 USING LICKS
Expanding Your Lickabulary
G LICKS 81
Exercise 22 - INSERTING G LICKS
CLICKS 83
Exercise 23 - INSERTING C LICKS
D (or D7) LICKS
Exercise 24 - INSERTING D (or D7) LICKS
TAG LICK VARIATIONS
Exercise 25 - INSERTING TAG LICK VARIATIONS
Altering Licks for Playability
Faking with Licks
Exercise 26 - USING LICKS TO FAKE SOLOS BY EAR
Creating a Melody Oriented Solo Using Licks
Exercise 27 - USING LICKS TO CREATE A MELODY ORIENTED SOLO BY EAR
Adapting Licks
Exercise 28 - ADAPTING LICKS
Style
Beyond Licks
Blank Tablature
Appendix ANSWERS TO EXERCISES
TRANSPOSITION CHART
CHORD DIAGRAMS
NAMES OF SONG EXAMPLES :
Roll in My Sweet Baby's Arms
Columbus Stockade Blues
All the Good Times Are Past and Gone
Sourwood Mountain
Cotton-Eyed Joe
Rock of Ages
Little Maggie
Roll On Buddy, Roll On
Redwing
Make Me a Pallet on Your Floor
Salty Dog Blues
Bill Bailey, Please Come Home