Exercises for Three-Finger Banjo (Book)
This is a unique collection of drills for all three popular three-finger banjo styles: Scruggs, Single String and Melodic. There are over two hundred sixty exercises ranging from beginner to advanced levels. The physical exercises include finger strengthening, increasing position changing speed, agility and hand-eye coordination. There are detailed aspects of technique not addressed in any other book such as pick depth control, controlling the pick angle for the best tone, stabilizing the right hand and imp ...more
Product Number:
99783
Format:
Book
Skill Level:
Multiple Levels
Notation Type:
Tab
Pages:
140
Binding:
Squareback Saddle Stitched
Size:
8.75 x 11.75
ISBN:
0-7866-9348-7
ISBN13:
978-07866-9348-1
Publisher:
Mel Bay Publications, Inc.
Date Published:
2/12/2016
This is a unique collection of drills for all three popular three-finger banjo styles: Scruggs, Single String and Melodic. There are over two hundred sixty exercises ranging from beginner to advanced levels. The physical exercises include finger strengthening, increasing position changing speed, agility and hand-eye coordination. There are detailed aspects of technique not addressed in any other book such as pick depth control, controlling the pick angle for the best tone, stabilizing the right hand and improving economy of motion in both hands. Musical exercises include roll exercises, roll combinations, modern (post-Scruggs) rolls, scales and scale patterns in both single-string and melodic styles, chord scales, fretboard positions for the G scale over the entire fretboard and triad and seventh chord formations. Location of root, seventh and minor tonal centers are shown in chord formations and in the fretboard patterns. Melodic quasi-chord formations are revealed which have never been codified in any other book. Mental tips which enhance focus and dozens of theory tidbits are featured.
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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