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