JANET DAVIS

BACK-UP BANJO JANET DAVIS 2 CD BOOK TABLATURE LIBRO METODO

BACK-UP BANJO, Janet Davis. 240 Pagine. 2 CD TABLATURE.


Back-up Banjo è un libro competo per l'accompaniamento con banjo, grazie alla ricchezza dell'informazione su come applicare la tecnica con molto gusto. Sicome i musicisti che suonano il banjo nei gruppi dedicano almeno 75% del suo tempo al accompaniamento, è estremamente importante di perfezionarsi. Janet Davis offre le speciali proposte per accompagnare i cantanti i vasta quantità di stili - e fornisce degli esempi musicali che illustrano le sue idee. Janet divide i suoi concetti in componenti base faccendoli diventare cristalmente chiari. Vari tecniche del back-up sono suddivise in categorie determinate dal tempo della canzone, dallo strumento di accompaniamento, e dallo spazio sulla tastiera dove vengono suonati gli accordi. Con pentagramma e tablatura, 240 pagine


Contiene 2 CD con le dimostrazioni delle canzoni.

Product Description:
With its wealth of information on how technique can be tastefully applied, Back-Up Banjo is the definitive book on the subject of banjo accompaniment. Since a banjo player in a band plays accompaniment at least 75% of the time, it is extremely important to master playing in this style. Janet Davis offers specific suggestions for accompanying a vocalist or instrumentalist in a variety of styles-- and then provides musical examples illustrating her points. Janet breaks her concepts down into their basic components, making them crystal clear in lay terms. The various back-up techniques are separated into categories determined by song tempo, by lead instrument being accompanied, and by the area of the fingerboard in which the chords are being played. In notation and tablature. 240 Pages.

This set includes a companion 2-CD set which demonstrates the examples in the book.

Song Title: Composer/Source:
John Hardy --
Battle Hymn Of The Republic --
New River Train --
Salt River --
Swing Low, Sweet Chariot --
Cumberland Gap --
Down In The Valley --
East Virginia --
May I Sleep In Your Barn Tonight, Mister? --
Wreck Of The Old 97 --
Gray Eagle --
Blackberry Blossom --
Reuben --
Soldier's Joy --
Cripple Creek --
Bury Me Beneath The Willow --
Jesse James --
Stone's Rag --
Tom Dooley --
When The Saints Go Marching In --
All The Good Times Are Past --
Banks Of The Ohio --
Cotton Patch Rag --
John Henry --
Sally Goodin' --
Wabash Cannonball --
Little Maggie --
Long Journey Home --
Red River Valley --
She'll Be Comin' Around The Mountain --
John Hardy --
Battle Hymn Of The Republic --
New River Train --
Salt River --
Swing Low, Sweet Chariot --
Cumberland Gap --
Down In The Valley --
East Virginia --
May I Sleep In Your Barn Tonight, Mister? --
Wreck Of The Old 97 --
Gray Eagle --
Blackberry Blossom --
Reuben --
Soldier's Joy --
Cripple Creek --
Bury Me Beneath The Willow --
Jesse James --
Stone's Rag --
Tom Dooley --
When The Saints Go Marching In --
All The Good Times Are Past --
Banks Of The Ohio --
Cotton Patch Rag --
John Henry --
Sally Goodin' --
Wabash Cannonball --
Little Maggie --
Long Journey Home --
Red River Valley --
She'll Be Comin' Around The Mountain

 

FOREWORD

The primary aim of this book is to present, explain, and exemplify the basic techniques commonly used on the five string banjo to accompany vocalists and/or instrumentalists. "BACK-UP" is simply another term for "ACCOMPANIMENT'.
This book is designed so that a beginning student of back-up can become accomplished at playing back-up for many different songs, using the techniques commonly used by many professional banjo players. The basic outline of the book separates the various back-up techniques into categories. These are determined by the tempo of the song being played, by the lead instrument being accompanied, and by the area of the fingerboard in which the chords are being played. The first section of the book deals with general back-up techniques, which can be used as back-up for songs played at ANY tempo (speed), and which can be used as back-up for ANY lead instrument playing the melody. As the book progresses, each style of back-up becomes more specialized Each section of the book is also designed so that it first discusses the basic techniques and uses for a particular style of back-up, and then goes into some of the means for adding polish to that style of back-up. Thc guidelines and the back-up patterns offered throughout this book are based upon common practice among professional banjo players, and will, hopefully, provide you with the tools for playing effective back-up for many different songs.
Happy Pickin' Janet Davis


INTRODUCTION
What Is Back-Up?
A banjo player normally plays accompaniment at least 75% of the time when he is playing with a band or with another musician, orwhen he is singing, while only about 25% of his effort involves playing the melody of the song. Therefore, an important aspect of playing the banjo is the art of playing back- up.
"BACK- UP" is simply another term for" ACCOMPANIMENT".
Back-up played on the banjo consists essentially of a combination of two elements: CHORDS & RHYTHM. For most styles of back-up, the left hand works from chord positions, while the right hand plays specific fingering patterns. The same patterns can be used as back-up for many different songs.
Which patterns are used for a specific song will be determined primarily by the tempo of the song, and by which instrument is playing the melody.
The art of playing back-up on the banjo can, in many respects, be compared to the art of building a structure with a set of blocks of various shapes and sizes. The same set of blocks can be used to build many different structures. All of the blocks might be used for one type of building, whereas only a few blocks of a specific shape might be required for another building. Certain blocks might be more useful for foundation purposes (i. e. for support), while other blocks might serve more ornamental functions. Each style of back-up contains a definite set of patterns which can be used over and over as back-up for many different songs. How the patterns are used. where they are placed in the context of the songs, when
embellishment techniques are used,--all of these things work together to determine the overall effectiveness of the back-up for a specific song.

 

VAMPING
VAMPING is a commonly used back-up technique which involves playing
rhythm and chords. This technique can be used as back-up for any song, to
accompany any lead instrument or vocalist. It can be used as the only backup
technique throughout an entire song, or it can be combined with other
styles of back-up. The vamping technique can be used with any chord, or
with every chord in a song. You can't go wrong using the vamping technique
as a style of back-up. Although vamping is often treated as a beginning back
-up technique, its' use is by no means limited to beginners. Many great
back-up artists use this technique frequently! The vamping style of backup
is particularly effective for breakdowns and for other fast instrumentals,
such as "Foggy Mountain Breakdown", "Earl's Breakdown", and "Flinthill
Special". It is also effective for up-tempo vocals such as "Footprints In
the Snow" and "Salty Dog", as well as for slower paced songs such as "I
Wonder Where You Are Tonight". Jazz tunes are frequently supported by
vamping. The vamping style of back-up is often used as the primary style
of accompaniment for guitar and dobro lead breaks.
"Vamping" is effective ONLY if it is played correctly. It is NOT simply
picking chords to the rhythm of a song. Vamping also involves
DAMPENING the strings with the left hand, after each chord is plucked
with the right fingers.
STE PI: Hold a chord position with the left hand.
(Hold the full position--all four strings. ) G

STEP 2: Pick the 1st, 2nd, & 3rd strings
with M, I, & T of the right hand
(simultaneously). * This should sound the chord.

STEP 3: Now, partially release the pressure on the strings with the left
hand. This should STOP the tones from sustaining. DON'T LET
THE CHORD RING AFTER THE RIGHT HAND PLAYS IT. Release
the pressure of the left fingers, but DO NOT lift the fingers from
the strings. The left fingers deaden the sound in this manner.
(The 5th string is not used with this technique.)
NOTE: When chording up-the-neck, on the higher pitched tones of the banjo,
the right hand should pick the strings in the area of the banjo where the
fingerboard joins the head, well away from the bridge, ("Y" position).
*The early style of vamping involved picking only the first two strings with
the right hand. The third string was added sometime later, giving the backup
a fuller sound, and providing stronger harmonic support for the lead
instrument.


TABLE OF CONTENTS
Foreword .
Introduction .
Definitions .
General Guidelines .
Explanation of Tablature & Rhythm .
Chords - Discussion of .
Moveable Chord Position Chart .
Exercises .
Locating Chords Without a Chart .
Basic Back-Up Techniques .
Vamping
Basic Vamping Patterns .
Vamping Pattern Variations
Embellishment
Two Positions of the Same Chord .
Using the Slide .
Passing Tones .
Fill-In Licks .
Examples .
Additional Functions .
Songs: lead plus back-up using basic techniques .
Wabash Cannonball .
John Hardy .
Cripple Creek .
Cumberland Gap .
Salt River. .
Scruggs-Style Back-Up - Discussion Of. .
Standard Roll Patterns .
Using the Deep Tones - Open through 5th Fret. .
Roll Patterns & Variations .
Commonly Used G, C, & D Chord Patterns .
Embellishment
Passing Tones .
Roll Patterns Using Passing Tones .
Licks Using Passing Tones .
Fill-In Licks .
Rhythmic Embellishment .
Songs: Back-Up .
Wabash Cannonball .
John Hardy .
East Virginia (lead plus back-up) .
New River Train (lead plus back-up) .
Long Journey Home (lead plus back-up) .
Wreck of the Old 97 (lead plus back-up) .
Up-The- Neck Back-Up - 5th through 22nd Frets .
Roll Patterns & Variations .
Fill-In Licks - Discussion Of .
Patterns .
Licks for Specific Chords .

Songs: Back-Up .
Wabash Cannonball .
John Hardy .
New River Train .
Wreck of the Old 97 .
Long Journey Home .
East Virginia .
Endings .
Guidelines For Using Back-Up Styles and Techniques .
Songs (Complete) .
Little Maggie .
Red River Valley .
Jesse James .
Bury Me Beneath The Willow .
Back-Up In Any Key- Discussion Of. .
Songs (Complete) .
Battle Hymn Of The Republic (key of C) .
Banks Of The Ohio (key of C) .
John Henry (key of D) .
She'll Be Coming Around The Mountain (key of D) .
May I Sleep Tn Your Barn Tonight, Mister? (key ofBb) .
When The Saints Go Marching In (key of F) .
Soldiers Joy (C Tuning) .
Reuben (D Tuning) .
Fiddle Tune Back-Up - Discussion Of. .
Songs: Lead plus Back-up
Sally Goodin' .
Gray Eagle .
Blackberry Blossom .
Cotton Patch Rag (key of C) .
Stones Rag (key of D) .
Slow Song Back-Up - Discussion Of .
Licks .
Songs:
Wabash Cannonball (Back-Up) .
Swing Low, Sweet Chariot (lead plus back-up) .
Tom Dooley (lead plus back-up) .
Waltz Time (~) Back-Up- Discussion Of .
Patterns .
Licks .
Songs: Lead plus Back-up
All The Good Times Are Past. .
Down In The Valley .
Current Trends In Back-Up - Discussion Of .
Chord Charts: include uses in Advanced Back-up
Major Chords .
Minor Chords .
Diminished Chords .
Augmented Chords .
Dominant Seventh Chords . 

Price: €44,99
€44,99

SPLITTING THE LICKS Janet Davis Improvising Arranging Songs on the 5-String Banjo BOOK 2CD TABLATURE

SPLITTING THE LICKS, Davis. 2CD TABLATURE

Product Description:
Leads the banjo player step-by-step through working out songs for the five-string banjo from basic melodies in both Scruggs/bluegrass style and melodic/chromatic style. Each section contains exercises and examples for improvising. Furthermore, this book teaches how to arrange music based on concepts of combining rolls and licks. Janet Davis' books are praised because they teach so well! This is one of her finest. In tablature. Includes a CD.

Song Title: Composer/Source:
Banjo Joe
Bill Cheatham
Blackberry Blossom
Bury Me Beneath The Willow
Cripple Creek
Cumberland Gap
Devil's Dream
Fire On The Mountain
Goin' Down That Road Fellin' Bad (Aka Lonesome Roa
Grandfather's Clock
Hamilton County Breakdown
Jesse James
John Hardy
Nine Pound Hammer
Old Joe Clark
Red Haired Boy
Red River Valley
Roll In My Sweet Baby's Arms
Sailor's Hornpipe
Salt River
The Eighth Of January
Train 45
Turkey In The Straw
Under The Double Eagle
Wabash Cannonball
Walking Cane
Whoa Mule
Wildwood Flower
Worried Man Blues

 

Mel Bay Presents

Improvising and Arranging Songs on the 5-String Banjo
by Janet Davis

Cover photo is a picture of a handcrafted Liberty Banjo. Use of the photo is courtesy of The Liberty Banjo Company,
CD Contents

Disk 1

Introduction
Accent Patterns
Rhythm Patterns
Roll Patterns
Begnning Licks
Fill-in Licks-G Chord
G Chord Licks
C Chord Licks
D Chord Licks
A Chord Licks
F, B, & Em Chord Licks

Worried Man Blues
Forward Roll
other Rolls
Fill-In Rolls
Left-Hand Tech.
with Backup

Bury Me Beneath the Willow
Forward Roll
other Rolls
Fill-In Rolls
left-Hand Tech
with Backup

Red River Valley
Forward Roll
other Rolls
Fill-In Rolls
left-Hand Tech
with Backup

Roll in My Sweet Baby's Arms
Forward Roll
other Rolls
Fill-In Rolls
left-Hand Tech
with Backup

Goin' Down That Road Feelin'
Forward Roll
other Rolls
Fill-In Rolls
left-Hand Tech
with Backup

Walking Cane
Forward Roll
other Rolls
Fill-In Rolls
left-Hand Tech
with Backup

Wildwood Flower
Forward Roll
other Rolls
Fill-In Rolls
left-Hand Tech
with Backup

Cripple Creek
Forward Roll
other Rolls
Fill-In Rolls
left-Hand Tech
with Backup

Cumberland Gap
Forward Roll
other Rolls
Fill-In Rolls
left-Hand Tech
with Backup

Jesse James
Forward Roll
other Rolls
Fill-In Rolls
left-Hand Tech
with Backup

Grandfather's Clock
Forward Roll
other Rolls
Fill-In Rolls
left-Hand Tech
with Backup

 

 

Disk 2
Circular Scale
G Major Scale
C Major Scale
D Major Scale
A, F,& E Minor Scale
G Chord Licks
C Chord Licks
D Chord Licks
A Chord Licks
F Chord& E Minor Licks
Ending Licks- G-D-
Ending Licks- D-
Ending Licks- A-D-F, C-D-G

The Eighth of January
-with Backup

Banjo Joe
-with Backup

Bill Cheatham
-with Backup

Devil's Dream
-with Backup

Blackberry Blossom
-with Backup

Sailor's Hornpipe
-with Backup

Red Haired Boy
-with Backup

Turkey in the Straw
-with Backup

Fire on the Mountain
-with Backup

Cripple Creek
-2nd Variation
-with Backup

John Hardy
-Melodic Variation
-with Backup

Old Joe Clark
-with Backup
-Melodic Variation
-with Backup
Exercise
Advanced G Chord Licks
2 Measure Licks in G
Advanced C Chord Licks
2 Measure Licks in C
Advanced D Chord Licks
2 Measure Licks in 0
Ending Licks- G-D-G

Worried Man Blues
-with Backup
-2nd Variation
-with Backup
-3rd Variation
-with Backup

Roll in My Sweet Baby's Arms (2nd)
--with Backup
-3rd Variation
--with Backup
-4th Variation
--with Backup

Goin' Down That Road Feelin' Bad
-with Backup
-3rd Variation
-with Backup
-4th Variation
-with Backup

Whoa Mule (2nd)
-w.h Backup
-3rd Variation
-with Backup
-4th Variation
-with Backup

Wabash Cannonball (2nd)
-with Backup
-Advanced Licks
-with Backup

Nine Pound Hammer (2nd)
-with Backup
-3rd Variation
-with Backup

Train 45 (2nd)
-with Backup
-3rd Variation
--with Backup
-4th Variation
-with Backup
-5th Variation
-with Backup

Salt River (2nd)
-with Backup
-3rd Variation
-with Backup

Hamilton County Breakdown
-with Backup
-3rd Variation


TABLE OF CONTENTS
INTRODUCTION.
EXPLANATION OF TABLATURE & RHYTHM.
RHYTHM EXERCISES.
BLUEGRASS-STYLE-Discussion Of .
Standard Roll Patterns .
Fill-in Licks.
Arranging Songs-Steps To Follow.
Songs- Exercises on Improvising:
WORRIED MAN BLUES.
BURY ME BENEATH THE WILLOW .
RED RIVER VALLEY.
ROLL IN MY SWEET BABYS ARMS.
GOIN' DOWN THAT ROAD
FEELIN' BAD
WALKING CANE
WILDWOOD FLOWER. .
CRIPPLE CREEK . .
CUMBERLAND GAP. .
JESSE JAMES
GRANDFATHER'S CLOCK. .
MELODIC STYLE-Discussion Of. .
Scale Patterns. .
Fill-In Licks . .
Arranging Songs-Steps To Follow.

Songs- Exercises on Improvising:
THE EIGHTH OF JANUARY. .
BANJO JOE. .
BILL CHEATHAM. .
DEVIL'S DREAM. .
BLACKBERRY BLOSSOM
SAILOR'S HORNPIPE. RED HAIRED BOY.
TURKEY IN THE STRAW. .
FIRE ON THE MOUNTAIN . .
CRIPPLE CREEK .
COMPARISON OF SCRUGGS-STYLE & MELODIC-STYLE.

Songs-One Arrangement in Each Style:
JOHN HARDY. .
OLD JOE CLARK. (See also "Cripple Creek", p. 35 & 67.)
COMBINING STYLES OF PLAYING.
Advanced Fill-In Licks. .
Arranging Songs-Steps To Follow. .

Songs Using Advanced Licks:
WORRIED MAN BLUES. .
ROLL IN MY SWEET BABYS ARMS. .
GOIN' DOWN THAT ROAD FEELIN' BAD. (also LONESOME ROAD BLUES).
WHOA MULE.
WABASH CANNONBALL
NINE POUND HAMMER
TRAIN 45.
SALT RIVER. .
HAMILTON COUNTY BREAKDOWN
UNDER THE DOUBLE EAGLE. . .
BUILDING ENDINGS FOR SONGS. .
Tag Endings. .
Two Measure Endings
CHORDS-Discussion Of.

Chord Charts:
Moveable Chord Chart for Major Chords
Major Chords
Minor Chords
Locating Chord Positions Without A Chart

 

FOREWORD
This book takes you through step hy st('p instructions on working out song for the 5-string banjo ii'om basic melodies in Bluegrass-style and in Melodic/Chromatic tyle. Each section also contains exercises and examples for improvising.
The first section and the second section deal with working out the basic arrangement of
a song. The exercises involve replacing the x's around the melody with notes. The last section
in the book deals with refining the arrangement of a song using advanced technique. This
section includes examples of songs showing how entire measures or licks can be replaced
with licks fi'om a sheet of suggested alternate, advanced licks.
All of the steps to arranging a song for the banjo discussed in this book, are based on the
fact that banjo arrangements are actually combinations of specific patterns, (rolls, or licks),
which moe played according to the chords in the song. This method of arranging songs has
worked well with my banjo students, and Ihope it will work for you also. Happy Pickin'
Janet Davis

P.S. 1983: SPLITTING THE LICKS has now been
expanded to include over twice as much material as was
contained in the-first edition, which was published in
1977. This edition could easily serve as a supplement to
the earlier edition, for those who have that edition. The
following pages include many new licks and many
additional songs which demonstrate the process of
building an arrangement of a song to be played on the
banjo. Also, the instructional material has been expanded
to include answers to questions from people who
studied the first edition of the book.


ITRODUCTION
To playa song on the 5-string banjo, you actually play combinations of finger pattern (also
referred to as rolls or licks). To improviseo or arrange a song on the banjo, you must work the
melody into these finger patterns, according to the chords of the song.
Before attempting to arrange a song on your own, you should be able to play several
arrangements (from tablature) of songs in the style you will use, in order to familiarize yourself
with the rhythm, the finger patterns, and the overall feeling of playing in this style.
This book will deal with two very popular styles of picking the banjo with three fingers:
1.) Bluegrass-Style-where the melody is surrounded by background notes.
2.) Melodic-Style (Chromatic)-where each note picked is essentially a melody note.
These styles can be combined within one song, or one song can be played entirely in one of
these styles.
One noticeable difference between each style of playing is the rhythm ... where the accent
(melody) or stress falls.

Comparison of Accent of the Two Styles

BLUEGRASS-STYLE
1st 4th 7th

MELODIC/CHROMATIC
1st 3rd 5th 7th

Note: stress the notes indicated with arrows. Generally your melody notes are these notes.
In learning these styles, it is best to learn them one at a time, so that you will become
familiar with the finger patterns particular to that style.

To improvise generally implies arranging on the spur of the moment. One musical dictionary
defines "improvise" as - to arrange, however. For the purposes of this book, the terms
"improvise" and "arrange" will refer to the same things.

TABLATURE -- The tablature format used in this book is fairly standard:
t, i, m, r, p= Left hand fingering: t=thumb; i=index; m=middle; r=ring; p=pinky.
It means to repeat (play again) what has just been played. (Return
to the previous 1/: if there is one. Otherwise, return to the beginning
and repeat the section.)

The five lines represent the five strings; the top line is the first string, and
the bottom line is the 5th string, (the short string).
The number tells you which fret to push down with your left hand. (0 means
open- -don't push the string down with the left hand when picking it with the
right hand).

The rhythm used in this book is based upon standard notation. If you already
understand rhythmic notation, all of the music in this book can be counted in
4/4 time, with each eighth note ( ) receiving 1/2 count. Each X equals an eighth
rest, and also receives 1/2 count. (Each measure contains eight 1/2 counts.)

The following explanation is for those who do not already know how to play the
rhythm of the notes. (For the sake of simplicity, it is explained in ~ time,
with each eighth note equaling 1 count.)
Each measure consists of 8 counts.
The measures are divided by bar lines.

H, P, Sl, Ch = are left hand techniques used for sounding the strings with the left hand; (the
right hand picks the note preceding them). -- ---
H means to hammer the fret indicated, by pushing down the string with the
left finger, hard enough to sound the tone.
-Emeans to pull off of the string from the fret before the one to be sounded by
the pull off, therefore sounding the tone indicated above the P.
SL means to sound the tone by sliding to the fret number above the Sl with the
-left finger(s) from the number before it.
Ch means to bend the string with the left finger, (do not pick the string with
the right hand, just bend it). (Ch=choke)

The STEMS under the notes (or numbers) tell you how long to let each note
ring:

= 1 count. Each eighth note receives one count. Eighth notes are written alone,

= 2 counts. Hold the tone played for the duration of two tones.
= ½ count. Play two sixteenth notes in the same amount of time you play one
eighth note:

= 1 count. (An eighth) rest indicates silence for the indicated duration.
(Pause for one count.)
Repeat sign.

OR- means to stress or accent this tone ... play it louder.

x = pause, do not play, for that count. (An x is a rest.)

NOTE: For more complete explanations of the above indications, refer to a beginning
banjo book.

T, I, M = are fingering indications for the right hand. M means pick the string with the
middle finger;-l means index finger; T meansthumb.

EXPLANA TION OF TABLATURE AND RHYTHM
 

Price: €29,99
€29,99

UP THE NECK BANJO JANET DAVIS BOOK & DVD TABLATURE LIBRO METODO SPARTITI LITTLE MAGGIE

UP THE NECK, BANJO. JANET DAVIS. 90 Minuti. DVD TABLATURE

Janet Davis has created a superb instructional video for five-string banjo dealing with the 5th through the 22nd fret. Roll Patterns, chords, songs, licks, chord progressions, improvising, melodic style, chromatic style, and back-up are some of the exciting techniques included in this educational video.

Product Number: 94820DVD

Format: DVD
ISBN: 0786671963
UPC: 796279096324
ISBN13: 9780786671960
Series: Non-Series
Publisher: Mel Bay Publications, Inc.
Date Published: 12/31/2003
 

"Up the neck" of the banjo involves playing between the 5th and the 22nd frets of the fingerboard. This book is intended to provide you with the basic principles and techniques for developing the ability to play any song in the three-finger style of playing in the up-the-neck area of the banjo. People often find it difficult to read the double-digit numbers involved in playing up the neck. However, just as it was difficult to read tablature for the first time, you will find that you will see the same numbers over and over, and you will begin to recognize the same patterns up the neck, just as you do when playing down the neck. Because these are related to chord positions, it will help to concentrate on°the numbers involved with playing each chord, particularly the G, C, and D chords from which the left hand will work. These will become familiar to you within a very short time, and will be easy to relate to the fingerboard. This book is divided into chapters, with each chapter building upon the information presented in the previous one. The songs presented in each section demonstrate the particular technique(s) discussed in that chapter. However, the songs are also intended as playable arrangements. The more you play up the neck using these techniques, the easier it will be to develop your own arrangements using these techniques. I have used these techniques for many years with my banjo students, and they seem to have worked well. I hope they will work well for you, also. Happy Pickin'! Janet Davis

The three-finger style of playing was popularized in the early 1940s primarily by Earl Scruggs and Don Reno, and has continued to be one of the foremost styles for playing the five-string banjo. In this style ofplaying, the melody notes for a song are surrounded by background notes, which are determined by the chords to the song. Patterns are involved in playing up the neck, just as they are involved with playing on the deeper tones of the banjo. Many of the same patterns (fo11sand licks) can be used in many different songs for the same chord. As you begin to work with these patterns in songs and learn how they are used, the fact that they are played in the up-the-neck area will begin to seem natura!. In fact, you should find it fairly easy to begin working out your own up-the-neck arrangements fairly early in the book. As this book progresses, you willlearn how to connect up-the-neck and down-the-neck licks smoothly, how to switch a lick for a lick for single chords, how to create variations, incorporate the melody, etc. The final sections of this book involve techniques developed by Bill Keith, Bela Fleck, Scott Vestal, and other influential banjo players of the 1990s. It is important to realize that the techniques which are used in the advanced sections are developed from the techniques covered in the earlier sections of the book. Therefore, it is important to understand the basics, first.

UP-THE-NECK ARRANGEMENTS
It will help to realize that up-the-neck arrangements are often played as second variations and, therefore, there is more freedom to deviate from the basic melody. (The first arrangement usually establishes the melody in the mind of the listener, so that he or she can appreciate the various techniques employed as the basic tune is expanded upon in subsequent variations.)
Up-the-neck arrangements are frequently of two basic types:
1. An arrangement with a strong sense of melody. This type of arrangement is generally based upon the standard roll patterns, where one finger of the right hand is used to pick the melody notes, while the other two right-hand fingers play background notes based upon the chords to the song. Licks are often used as fill, rather than as the basis for this type of arrangement. Songs which have words often fall within this category.
2. An arrangement which. deviates from the basic melody. This type of arrangement is comprised primarily of licks (patterns or motifs). Arrangements which are comprised primarily of licks can be absolutely void of the tune for the song and still work, as long as the licks are played for the correct chords to the song. Generally, these songs will have a specific motif which will serve as the identifying factor for a listener, such as the intro to "Bugle Call Rag." Breakdowns usually fall within this category.
The following chapters of this book will take you through the development of arrangements which fall within Type I and Type II, as well as arrangements which use a combination of these techniques.

 

Format: Book/2-CD Set

Contents:

Foreword
Introduction
Up-the-Neck Arrangements
The Y Position
Bluegrass Roll Patterns
The Standard Roll Patterns
"Bile 'Em Cabbage Down"
"Salty Dog Blues"
Summary: Roll Patterns
Chords: Introduction
Chords
The Standard Chord Patterns
"Cumberland Gap"
"Train 45"
"John Hardy"
"Little Maggie"
"Don't Let the Deal Go Down"
"Wildwood Flower"
"House of the Rising Sun"
Summary: Chords
Licks: Introduction
Basic Up-the-Neck Licks
"Train 45"
"Little Maggie"
"John Hardy"
"Mama Don't Allow"
"Crying Holy Unto the Lord"
The "Identity Factor"
Chord Progression #1
Chord Progression #2
Chord Progression #3
"Lonesome Road Blues"
"Roll in My Sweet Baby's Arms"
Additional Licks: Interchangeable Licks by Chord
Pick-Up Notes
G Licks
C Licks
D Licks
A Licks
F Licks
E Licks
B Licks
B-flat Licks
F-sharp Licks
Am Licks
Bm Licks
Cm Licks
Em Licks
Dm Licks
Chord Progression #1
Chord Progression #2
Chord Progression #3
"Lonesome Road Blues"
"Little Maggie"
"Salty Dog Blues"
"Roll in My Sweet Baby's Arms"
"Jesse James"
Summary: Licks
Incorporating the Melody
Harmony Notes
Accentuating the Melody
"Worried Man Blues"
"Red River Valley"
"Hand Me Down My Walking Cane"
"Wreck of the Old 97"
Improvising: Advanced Section
Advanced Expression: The X or the Y Position?
Connecting Links: Up and Down the Neck
"Lost Indian"
"Sitting on Top of the World"
Altered Roll Patterns
"Blackberry Blossom"
"Wildwood Flower"
"Sally Goodin"
Second Variations
"Sally Ann"
"Don't Let the Deal Go Down"
"Look Down, Look Down"
Melodic Licks
"Dixie"
"Cuckoo's Nest"
"Crazy Creek"
"Limerock"
"Gray Eagle"
Using Chromatic Licks
"Hamilton County Breakdown"
"Cumberland Gap"
"Lonesome Road Blues"
"Working on a Building"
"Salt River"
Single-String Licks
Moveable Licks: Fingerboard Patterns
"She'll Be Coming Around the Mountain"
"Dill Pickle Rag"
"Black and White Rag"
"Salty Dog Blues"
"Salt River"
Using Back-Up Licks for Up-the-Neck Lead Arrangements
"12-Bar Blues"
"Hear Jerusalem Moan"
"I Don't Love Nobody"
Summary: Improvising
Ending a Song
Chord Charts

Disc 1
Tuning
Bluegrass Roll Patterns
The Forward Roll Pattern
The Mixed Roll Pattern
The Forward-Reverse Pattern
The Backward Roll
"Bile 'Em Cabbage Down"
Forward Roll
Backward Roll
Forward-Reverse Roll
"Salty Dog Blues"
Backward/Alt. Forward Roll
The Standard Chord Patterns
F-Position Pattern
D-Position Pattern
Barre-Position Pattern
E-Minor Chord Pattern
"Cumberland Gap"
Alternate Part B
"Train 45"
"John Hardy"
Alternate Forward Roll
Variation
"Little Maggie"
Up-the-neck Arrangement
1st Arrangement
2nd Arrangement
3rd Arrangement
"Don't Let the Deal Go Down"
Variation #2
Variation #3
"Wildwood Flower"
"House of the Rising Sun"
Basic Up-the-Neck Licks
Lick #3, #4, #5, & #6
"Train 45"
"Little Maggie"
"John Hardy"
"Mama Don't Allow"
"Crying Holy Unto the Lord"
The "Identity Factor"
Chord Progression #1
Chord Progression #2
Chord Progression #3
"Lonesome Road Blues"
Substitute Licks
"Roll in My Sweet Baby's Arms"
Variation #2
Pick-Up Notes
G Licks
C Licks
D Licks - 1st-4th lines
D Licks - 5th-8th lines
A Licks
F Licks
E Licks
B Licks
B-flat Licks
F-sharp Licks
Am Licks
Bm Licks
Cm Licks
Em Licks
Dm Licks

Disc 2
Chord Progression #1
Alternate Licks
Chord Progression #2
Chord Progression #3
"Lonesome Road Blues"
Substitute (Alt.) Lick
Variation #2
"Little Maggie"
Substitute Licks
"Salty Dog Blues"
Variation #2
"Roll in My Sweet Baby's Arms"
Alternate Licks
"Jesse James"
Harmony Notes
"Worried Man Blues"
Forward Roll Pattern
Chord Positions
Other Roll Patterns
Substitute Licks
"Red River Valley"
Variation #1
Variation #2
"Hand Me Down My Walking Cane"
Forward Roll Pattern
Substitute Licks
"Wreck of the Old 97"
Alternate Forward Roll
Variation #2
Variation #3
The Ending
Connecting Links: Up and Down the Neck
"Lost Indian"
"Sitting on Top of the World"
Variation #2
Altered Roll Patterns & "Blackberry Blossom"
"Wildwood Flower"
Variation #2
"Sally Goodin"
Variation #2
Variation #3
"Sally Ann"
Variation #2
"Don't Let the Deal Go Down"
Variation #2
Variation #3
"Look Down, Look Down"
Variation #2
Melodic Licks
"Dixie"
"Cuckoo's Nest"
"Crazy Creek"
"Limerock"
"Gray Eagle"
Using Chromatic Licks
"Hamilton County Breakdown"
Variation #2
Variation #3
"Cumberland Gap"
Variation #2
"Lonesome Road Blues"
"Working on a Building"
Variation #2
"Salt River"
Moveable Licks
F-Position Licks
F-Position Licks Continued
Barre-Position Licks
"She'll Be Coming Around the Mountain"
"Dill Pickle Rag"
"Black and White Rag"
"Salty Dog Blues"
"Salt River"
Part B
Using Back-Up Licks for Up-the-Neck Lead Arrangements
"12-Bar Blues"
"Hear Jerusalem Moan"
"I Don't Love Nobody"
Endings-Group 1
Endings Continued
Group II

Price: €31,00
€31,00

UP THE NECK BANJO JANET DAVIS 2 CD TABLATURE BOOK SPARTITI METODO

UP THE NECK, BANJO. J. Davis. 144 pagine. 2CD TAB.

Product Description:
A superb instructional text for five-string banjo dealing with the 5th through the 22nd fret. Included are chapters on roll patterns, chords, songs, licks, chord progressions, arranging songs, improvising, melodic style, chromatic style, chromatic style, back-up, and much more! Also included is an abundance of great Janet Davis solo tabs. Written in tablature.

The two CDs included in this package contain 144 tracks in stereo to accompany the book. Listen and play along with Janet Davis as she explains and plays each exercise.

Format: Book/2-CD Set

Contents:

Foreword
Introduction
Up-the-Neck Arrangements
The Y Position
Bluegrass Roll Patterns
The Standard Roll Patterns
"Bile 'Em Cabbage Down"
"Salty Dog Blues"
Summary: Roll Patterns
Chords: Introduction
Chords
The Standard Chord Patterns
"Cumberland Gap"
"Train 45"
"John Hardy"
"Little Maggie"
"Don't Let the Deal Go Down"
"Wildwood Flower"
"House of the Rising Sun"
Summary: Chords
Licks: Introduction
Basic Up-the-Neck Licks
"Train 45"
"Little Maggie"
"John Hardy"
"Mama Don't Allow"
"Crying Holy Unto the Lord"
The "Identity Factor"
Chord Progression #1
Chord Progression #2
Chord Progression #3
"Lonesome Road Blues"
"Roll in My Sweet Baby's Arms"
Additional Licks: Interchangeable Licks by Chord
Pick-Up Notes
G Licks
C Licks
D Licks
A Licks
F Licks
E Licks
B Licks
B-flat Licks
F-sharp Licks
Am Licks
Bm Licks
Cm Licks
Em Licks
Dm Licks
Chord Progression #1
Chord Progression #2
Chord Progression #3
"Lonesome Road Blues"
"Little Maggie"
"Salty Dog Blues"
"Roll in My Sweet Baby's Arms"
"Jesse James"
Summary: Licks
Incorporating the Melody
Harmony Notes
Accentuating the Melody
"Worried Man Blues"
"Red River Valley"
"Hand Me Down My Walking Cane"
"Wreck of the Old 97"
Improvising: Advanced Section
Advanced Expression: The X or the Y Position?
Connecting Links: Up and Down the Neck
"Lost Indian"
"Sitting on Top of the World"
Altered Roll Patterns
"Blackberry Blossom"
"Wildwood Flower"
"Sally Goodin"
Second Variations
"Sally Ann"
"Don't Let the Deal Go Down"
"Look Down, Look Down"
Melodic Licks
"Dixie"
"Cuckoo's Nest"
"Crazy Creek"
"Limerock"
"Gray Eagle"
Using Chromatic Licks
"Hamilton County Breakdown"
"Cumberland Gap"
"Lonesome Road Blues"
"Working on a Building"
"Salt River"
Single-String Licks
Moveable Licks: Fingerboard Patterns
"She'll Be Coming Around the Mountain"
"Dill Pickle Rag"
"Black and White Rag"
"Salty Dog Blues"
"Salt River"
Using Back-Up Licks for Up-the-Neck Lead Arrangements
"12-Bar Blues"
"Hear Jerusalem Moan"
"I Don't Love Nobody"
Summary: Improvising
Ending a Song
Chord Charts

Disc 1
Tuning
Bluegrass Roll Patterns
The Forward Roll Pattern
The Mixed Roll Pattern
The Forward-Reverse Pattern
The Backward Roll
"Bile 'Em Cabbage Down"
Forward Roll
Backward Roll
Forward-Reverse Roll
"Salty Dog Blues"
Backward/Alt. Forward Roll
The Standard Chord Patterns
F-Position Pattern
D-Position Pattern
Barre-Position Pattern
E-Minor Chord Pattern
"Cumberland Gap"
Alternate Part B
"Train 45"
"John Hardy"
Alternate Forward Roll
Variation
"Little Maggie"
Up-the-neck Arrangement
1st Arrangement
2nd Arrangement
3rd Arrangement
"Don't Let the Deal Go Down"
Variation #2
Variation #3
"Wildwood Flower"
"House of the Rising Sun"
Basic Up-the-Neck Licks
Lick #3, #4, #5, & #6
"Train 45"
"Little Maggie"
"John Hardy"
"Mama Don't Allow"
"Crying Holy Unto the Lord"
The "Identity Factor"
Chord Progression #1
Chord Progression #2
Chord Progression #3
"Lonesome Road Blues"
Substitute Licks
"Roll in My Sweet Baby's Arms"
Variation #2
Pick-Up Notes
G Licks
C Licks
D Licks - 1st-4th lines
D Licks - 5th-8th lines
A Licks
F Licks
E Licks
B Licks
B-flat Licks
F-sharp Licks
Am Licks
Bm Licks
Cm Licks
Em Licks
Dm Licks

Disc 2
Chord Progression #1
Alternate Licks
Chord Progression #2
Chord Progression #3
"Lonesome Road Blues"
Substitute (Alt.) Lick
Variation #2
"Little Maggie"
Substitute Licks
"Salty Dog Blues"
Variation #2
"Roll in My Sweet Baby's Arms"
Alternate Licks
"Jesse James"
Harmony Notes
"Worried Man Blues"
Forward Roll Pattern
Chord Positions
Other Roll Patterns
Substitute Licks
"Red River Valley"
Variation #1
Variation #2
"Hand Me Down My Walking Cane"
Forward Roll Pattern
Substitute Licks
"Wreck of the Old 97"
Alternate Forward Roll
Variation #2
Variation #3
The Ending
Connecting Links: Up and Down the Neck
"Lost Indian"
"Sitting on Top of the World"
Variation #2
Altered Roll Patterns & "Blackberry Blossom"
"Wildwood Flower"
Variation #2
"Sally Goodin"
Variation #2
Variation #3
"Sally Ann"
Variation #2
"Don't Let the Deal Go Down"
Variation #2
Variation #3
"Look Down, Look Down"
Variation #2
Melodic Licks
"Dixie"
"Cuckoo's Nest"
"Crazy Creek"
"Limerock"
"Gray Eagle"
Using Chromatic Licks
"Hamilton County Breakdown"
Variation #2
Variation #3
"Cumberland Gap"
Variation #2
"Lonesome Road Blues"
"Working on a Building"
Variation #2
"Salt River"
Moveable Licks
F-Position Licks
F-Position Licks Continued
Barre-Position Licks
"She'll Be Coming Around the Mountain"
"Dill Pickle Rag"
"Black and White Rag"
"Salty Dog Blues"
"Salt River"
Part B
Using Back-Up Licks for Up-the-Neck Lead Arrangements
"12-Bar Blues"
"Hear Jerusalem Moan"
"I Don't Love Nobody"
Endings-Group 1
Endings Continued
Group II

Price: €34,99
€34,99

THE ULTIMATE BANJO SONGBOOK, 26 Favorites Arranged for 5-String Banjo. 2CD TABLATURE

THE ULTIMATE BANJO SONGBOOK, 26 Favorites Arranged for 5-String Banjo. 2CD TAB.

Various Composers. A great collection of banjo classics, including: Alabama Jubilee -Bye Bye Love -Duelin' Banjos -The Entertainer -Foggy Mountain Breakdown -Great Balls of Fire - Lady of Spain -Rawhide -(Ghost) Riders in the Sky (A Cowboy Legend) -Rocky Top -San Antonio Rose -Tennessee Waltz - UFO-TOFU -You Are My Sunshine, and more. 148 pages.

Series: Banjo
Softcover with CD - TAB
Author: Janet Davis
148 pages.

Songlist:
(Ghost) Riders In The Sky (A Cowboy Legend)
Alabama Jubilee
Blue Moon Of Kentucky
Bugle Call Rag
Bye Bye Love
Duelin' Banjos
Faded Love
Farewell Blues
Fireball Mail
Foggy Mountain Breakdown
Gold Rush
Great Balls Of Fire
How Great Thou Art
Lady Of Spain
Limehouse Blues
Orange Blossom Special
Red Wing
Roanoke
Rocky Top
San Antonio Rose
Tennessee Waltz
The Entertainer
UFO-TOFU
Wheel Hoss
Yesterday
You Are My Sunshine

Price: €25,99
€25,99
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