Exercises for Three Finger Banjo

by Jack Hatfield
$24.99
sku: 02-99783
Collection of exercises and tips for the three-finger style banjo player, intended as a supplement to any teaching method at any ability level. Includes many practice tips, advice on learning procedures, and applied theory. The exercises are categorized in two parts: Physical Exercises - for training and strengthening the muscles and improving hand-eye coordination and dexterity - and Musical Exercises - essentially drills on rolls, left hand maneuvers, rhythms, scales and patterns, chord progressions, and other musical ideas. Covers: chord-like melodic formations, major scale fret board patterns (modes), rhythm and emphasis exercises, drills for syncopation and playing with a bounce, vertical and horizontal scale exercises, double stops, the collapsed finger bar, how to wear and bend picks, right hand range of motion drills, lots more. Dozens of photos of proper right and left hand position. For all ability levels. Tablature and some fretboard diagrams. 139 pp.   More Details...

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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