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Exercises for Three Finger Banjo


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Composed by Jack Hatfield. Squareback saddle stitch. Book. Published by Mel Bay Publications, Inc (MB.99783).

Instrumentation :

Banjo


Publisher :

Mel Bay


Level : See all items with the same classification and the same skill level

Song List: 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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