BANJO

COMPLETE BLUEGRASS BANJO METHOD. Neil Griffin. CD TABLATURE

Product Description:
One of the very best G tuning five-string bluegrass banjo methods available! The book teaches how to pick out tunes single-string style (one note at a time), how to play chord accompaniment, and how to play solos in the full three-finger, bluegrass style. Topics include note and tab reading, chord background styles, traditional bluegrass techniques, fills and endings, use of the capo, rolls, slides, hammers, pull-offs, choking, harmonics, and up-the-neck playing. In notation and tablature. The CD includes acoustic bass, acoustic guitar, and a rhythm track as well as the 5-string banjo. All songs and most exercises are included in this teaching recording, performed at a tempo that the student should be able to maintain in short order.

Product Description:
One of the very best G-tuning five-string bluegrass banjo methods available. Contents include note reading, tablature, chord background styles, three finger picking, rolls, licks, runs, fills, and endings, use of the capo, easy solos, and advanced up-the-neck solos in three-finger style! CD is a stereo play-along recording.

Neil Griffin was born and still resides in Charlotte, North Carolina. Music has always been his prime interest, starting wtih clarinet instruction in the fifth grade and learning guitar on his own. He performed as a member of the Charlotte Symphony Orchestra at age 15 playing bass clarinet. He also began performing with area dance bands on saxophone, clarinet, and guitar.

He studied music at the Univeristy of North Carolina at Chapel Hill, playing First Chair Alto Sax as a freshman in the UNC Concert Band. Neil taught as Band Director at three county schools for several years and at the same time privately for Kidd-Frix Music Co. in their Charlotte accordion school. When the School was purchased by Music Inc. Neil went into management and retail music sales for them. At the same time, Neil played regularly with his own band for wedding receptions, office parties, etc., and gained valuable experience from playing summer theater for many well-known stars as well as being called on a regular basis to play banjo, guitar, and clarinet for traveling Broadway shows appearing in the area.

Neil was very active in the Charlotte Musicians Association and served as president for approximately 13 years as well as holding other executive offices.

Some of the first professional jobs Neil played were good old southern square dances, which at that time weren't as fancy as they are today but provided him with an appreciation for country and bluegrass music that was never forgotten. He enjoyed doin 5 radio shows and two TV shows per week at WBT and WBTV in Charlotte for over a year.

In the early 60's Neil was hired to manage Tillman Music Co. in Charlotte. There he helped in starting the Aria Pro II line of instruments. Neil and his brother Steve, who also writes for Mel Bay Publications, went into the music-school business tohether in the 70's and later expanded as a retail music store. During this period Neil met Mel Bay and began to write material for 5-string banjo which was pretty scarce at the time. He has thoroughly enjoyed writing and teaching.

Currently, Neil is a performing musician, band leader and co-owner of the Neil Griffin Studios of Music in Charlotte, North Carolina where his instructional books are field tested and proven effective with students of all ages. He has authored or co-authored several books for Mel Bay Publications on the subjects of 5-string banjo, rock guitar, and accordion.

THE AUTHOR
Neil Griffin is a performing musician and teacher with many years of experience. He is co-owner of Griffin Music Scene in Charlotte, North Carolina, where this method has been field-tested and proven with students of all ages. Neil is the author of Mel Bay Publications' Easiest Banjo Book, Anthology of 5-String Banjo Styles, The Complete Banjo Book, and several other publications from Mel Bay.

ABOUT PART ONE A WORD FROM THE AUTHOR
I have attempted to set forth a basic, "from-the-beginning" system of five-string banjo instruction in the G or bluegrass tuning for the use of both teachers and students. Through the use of this method, the student should expect to learn the following:

1. How to pick out tunes single-string style (one note at a time).
2. How to play chord accompaniment.
3. How to play solos in the full three-finger, bluegrass style that is so popular today.

All the songs and solos in Part One are written in two simple keys (Gand C). All the playing
is done in the basic position (the first few frets).
The student will learn to play rolls, slides, hammers, and pull-offs. Techniques such as choking, playing harmonics, and high solo playing up the neck are purposely omitted in Part One. These will be covered in Part Two, as I believe that a thorough knowledge and facility should be gained in the basic position before moving on.
All of the songs in the first part are written two ways - one simple version showing the single-note melody as well as the chord strums and words - one complete three-finger, bluegrass solo that matches. Ifyou have a friend who plays a few chords on the guitar, it will be fun to play the song together, swapping back and forth with one playing the melody and the other strumming the chords. Later, when you can handle full solos, the music will still work together.
Daily practice is essential in order to master the material in this method and is one thing you must discipline yourself to do. No one else can do it for you.
If you are not taking regular instruction from a banjo teacher or if there are no banjo teachers in your town and you feel you need extra help, any competent guitar teacher will understand the material in this book and willbe able to help you to understand the things that cause you trouble.
Good luck and, above all, have fun with your music!
Neil Griffin

PART TWO FOREWORD
Iwant to thank the many thousands of banjo enthusiasts who have purchased the Mel Bay books I have written. It is certainly gratifying to receive letters and phone calls from all over the world commenting on my books and requesting more advanced material for the fivestring banjo.
There is quite a bit of good music available now for the five-string banjo, but as I study all that I can obtain, my feeling remains the same as when I wrote my first book. There seems to be a lack of actual teaching material that systematically acquaints the aspiring banjo player with the techniques necessary to become an accomplished banjoist. A banjo player must utilize his or her own talents and imagination in playing exciting music. In order to achieve what your musical ear wants to hear, you must know just where to find the sounds that you are looking for on your instrument. I sincerely hope that this book will help those who use it correctly, not only just to play the songs as they are written here, but to learn your way around the banjo so well that you can extend the solos, improve upon them, and create your own versions.
Included in this part are information on chords and chord progressions, scales and keys, single-string picking, melodic or chromatic style, back-up, blues and boogie, various technical exercises, and standard tunes as well as some original material to help demonstrate their use. It is very important that you understand and can play the material in Part One of this method in order to get the most out of this volume. It would also be helpful if you would read through and play the supplementary material that I have written previously - Mel Bay's Easiest Banjo Book, Complete Banjo Book, and Anthology of 5-String Banjo Styles. Again, many thanks for your interest and support, and best wishes for many hours of 'Happy Pickin'

"MELODIC" OR "CHROMATIC" PICKING
THE NEXT FEW PAGES WILL INTRODUCE YOU TO THE "MELODIC" OR "CHROMATIC" STYLE OF BANJO PLAYING. THE MAJOR PART OF THE MATERIAL IS IN G BECAUSE YOU ARE SO FAMILIAR WITH THE KEY, BUT SEVERAL OTHER KEYS ARE SHOWN.
THIS STYLE IS SOMETIMES CALLED "FIDDLE SCALE PLAYING" BECAUSE IT IS DESIGNED TO ALLOW THE BANJO PLAYER TO PLAY RAPID RUNS AND FILL-INS AS WELL AS THE OLD-TIME FIDDLE AND MANDOLIN TUNES THAT HAVE SO MANY NOTES IN EACH MEASURE OF THE MUSIC. MOST OF THE OLD FIDDLE TUNES HAVE ABOUT EIGHT NOTES PER MEASURE AND DO NOT ADAPT WELL TO THE "SCRUGGS" STYLE.
MOST GOOD BANJO PLAYERS USE A MIXTURE OF THE TWO STYLES IN ORDER TO AVOID BEING MONOTONOUS.
IF YOU READ MUSIC AND HAVE A THOROUGH KNOWLEDGE OF THE MELODIC SCALE PATTERNS, YOU CAN READ FIDDLE AND MANDOLIN TUNES DIRECTLY FROM FIDDLE AND MANDOLIN MUSIC. THIS ABILITY ALONE WILL OPEN UP THE OPPORTUNITY TO PLAY LITERALLYTHOUSANDS OF TUNES YOU ARE NOT FAMILIAR WITH. YOU WILL NOTICE THAT IN THIS STYLE OF PLAYING THE RIGHT-HAND FINGERING REQUIRES YOU TO PICK THE SECOND STRING WITH THE MIDDLE FINGER. THIS TAKES SOME PRACTICE BUT WILL ENABLE YOU TO PLAY RUNS THAT WERE VERY DIFFICULT TO FINGER BEFORE.
BE PATIENT, AS YOU WILL PROBABLY FEEL LIKE AN AWKWARD BEGINNER FOR A WHILE. BUT DON'T GIVE UP - IT'S WORTH THE EFFORT .... MEMORIZE ONE SCALE PATTERN AT A TIME AND DON'T MOVE ON TO THE NEXT ONE UNTIL YOU CAN PLAY IT QUITE SMOOTHLY.
 

ADVANCED SOLO SONG SECTION
BE SURE TO READ THE NEXT FOUR PAGES ON "CHORD DIAGRAMS," "CIRCLED TAB NUMBERS," "THE CHOKE," AND "CHIMES" BEFORE YOU START PLAYING THE SOLOS. THIS INFORMATION WILL HELP YOU TO UNDERSTAND THE SOLOS MUCH BETTER.
INCLUDED IN THIS SECTION IS A WIDE VARIETY OF MATERIAL.
THERE ARE SEVERAL SONGS THAT YOU LEARNED IN PART ONE IN THE BASIC POSITION THAT ARE PRESENTED HERE IN THE HIGHER OCTAVE (UP THE NECK). THESE MAY BE CONNECTED TO THE PREVIOUS SOLOS YOU HAVE LEARNED TO EXPAND THE NUMBER OF CHORUSES YOU CAN PLAY.
MANY OF THE SONGS HAVE BOTH LOW AND HIGH VERSIONS WITH A MIXTURE OF "SCRUGGS" AND "MELODIC." THERE ARE SEVERAL ORIGINAL TUNES INCLUDED. IN SOME INSTANCES THE STYLE USES THE HOLDING OF COMPLETE CHORDS WHERE I OBVIOUSLY COULD HAVE MADE THE PlAYING MORE FLOWING AND OPEN TO SUIT MORE ADVANCED PlAYERS, BUT I DID NOT SET OUT TO WRITE JUST ANOTHER "SOLO BOOK. " IT IS MY HONEST HOPE THAT YOU WILL, THROUGH THE USE OF THIS BOOK, REALLY BEGIN TO SEE WHERE THINGS ARE COMING FROM THAT YOU DID NOT UNDERSTAND BEFORE. STUDYING THIS MATERIAL THOROUGHLY WILL ENABLE YOU TO READ AND UNDERSTAND SOLOS WRITTEN BY MUCH GREATER BANJO PLAYERS THAN MYSELF.

INDEX OF ADVANCED SOLOS II
ARKANSAS TRAVELER
BANJO BLUES
BICENTENNIAL BREAKDOWN
BILL BAILEY.
BlACK EYED SUSIE .
BLUE MOUNTAIN TRAIN
BLUEGRASS JOE
BUFFALO GALS (MELODIC STYLE)
BUFFALO GALS (3-FINGER STYLE) .
BULLY OF THE TOWN
BURY ME BENEATH THE WILLOW .
CARELESS LOVE .
CARRY ME BACK TO OLD VIRGINIA
CATFISH CREEK.
CHIME TIME
FRANKIE AND JOHNNY
GEORGIA GALLOP
GRANDFATHER'S CLOCK
HARD AND IT'S HARD
JOHN HARDY (HIGH CHORUS)
JOHN HENRY .
LONDONDERRY AIR
MAMA DON'T 'LOW
NINE POUND HAMMER
NUEGRASS
OLD TIME RELIGION (HIGH CHORUS)
PICKIN' AROUND
ST. ANNE'S REEL
SALTY DOG
STOCKADE BLUES
UNDER THE DOUBLE EAGLE
WABASH CANNONBALL
WILDWOOD FLOWER
WILL THE CIRCLE BE UNBROKEN
WRECK OF THE OLD 97 

MEL BAY'S COMPLETE BLUEGRASS BANJO METHOD
Cover photo courtesy of Liberty Banjo Company, Bridgeport, Connecticut.

CD CONTENTS:
1 Introduction (:21]
2 Tuning the Banjo/page 11 (:56]
3 Notes on the D String Plus 4 Songs/page 13 (1:38)
4 More Songs With Addftional Notes/page 18 (1:48)
5 G Major Songs/page 23 [1:01]
6 Chord Background & The Bugle-Call Pinch/page 31& 32 (:34)
7 Pinch Chords With Alternating Bass Notes in 4/4 Time/page 33 (:35)
8 Pinch Chords With Alternating Bass Notes in 3/4 Time/page 34 {:27]
9 Melody and Pinch Chords Together/page 35 {:40]
10 3-Finger Picking· Forward Rolls/page 44 (:52)
11 Backward Rolls/page 45 (:50]
12 Thumb-Alternating Rolls/page 46 {1:11]
13 Combination Rolls/page 47 {l:04]
14 Rolls on the D & D7 Chords/page 48 [:34]
15 Right-Hand Patterns/page 50 {l: 18]
16 County Line/page 51 (:32]
17 Frog Pond / page 52
18 Haystack/page 53 [:25)
19 Fiesta/page 54 (:31)
20 Backing Up/page 55 (:25)
21 Moving On/page 56 {:25]
22 Big Dipper/page 57 (:25]
23 The Basic Banjo Picking Effects· The Slide/page 60 {:54}
24 Slide and Pinch/page 60 {:26]
25 Slides and Rolls/page 61 {:40]
26 Hammering, Hammer & Pinch, Hammer & Roll / page 62 {:51]
27 The Pull-Off, Pulling Off, Pull-Off & Pinch, Pull-Off & Roll/ page 63 (:56]
28 Mixed Effects/page 64 (:59]

Solo Section
29 Fills& Endings/page 65 {2:15]
30 Bile 'Dem Cabbage Down/page 70 [:28)
31 Criple Creek /page 72 (:29]
32 Old Dan Tucker /page 74 (:52]
33 I've Got Peace Like a River /page 76 [:28)
34 Old Time Religion /page 78 {:27]
35 Hand Me Down My Walking Cane /page 80 {:28}
36 Careless love /page 82 {:56]
37 When the Saints GoMarching In / page 84 {:54]
38 This Train / page 90 {:30]
39 Banks of the Ohio / page 92 {:27]
40 The Yellow Rose of Texas / page 94 {:55]
41 Pickin' on the Old Banjo / page 98 [:30)
42 Li'l Liza Jane / page 100 (:29]
43 The lonesome Road page 102 [:29)
44 Mama Don't 'low / page 104 (:27]
45 She'll Be Coming 'Round the Mountain / page 106
46 Worried Man Blues / page 108 (:28)
47 Red River Valley / page 110 {:28]
48 Old Joe Clark / page 112 {:52]
49 John Hardy / page 114 {:33]
50 Pickin' Trip / page 116 {:30]
51 Oh Susanna / page 118 {:29]
52 Cindy / page 122 {:33]
53 The ER-I·E Canal / page 122 [:33]
54 Ballad of Jesse James /page 124 (:52]
55 Home Sweet Home /page 128 (:55]
56 Battle Hymn of the Republic /page 132 {:58]
57 Come and Gowdh Me /page 136 (:30]
58 Part 2·She'll Be Coming 'Round the Mountain / page 148 {:37)
59 Little Brown Jug /page 155 {:49]
60 Bile 'Dem Cabbage Down (:58]

Advanced Solo Section
61 Blue Mountain Train /page 182 {l:06}
62 Chime Time /page 184 [1: 16]
63 Georgia Gallop /page 186 [:52]
64 Pickin' Around /page 188 [:32]
65 Wabash Cannonball /page 189 {:30]
66 Bury Me Beneath the Willow/page 190 {:56}
67 Wildwood Flower/page 192 (1:00)
68 Will the Circle Be Unbroken/page 194 (:59]
69 Arkansas Traveler/page 196 {:31]
70 Wreck of the Old 91/page 191 {:30]
71 Nine Pound Hammer/page 198 (:56]
72 CarryMe Back to Old Virginia/page 200 (:57]
73 Banjo Blues /page 202 (:56)
74 Bluegrass Joe /page 204 [:43]
75 Mama Don't 'low /page 205 [:27]
76 Stockade Blues /page 206 [:53]
77 Salty Dog /page 208 [l:23]
78 Catfish Creek/page 210 [:54]
79 Gandlather's Clock/page 212 [1:20]
80 Frankie and JohnnJohnny / Page 214 [1:05]
81 Careless love/page 215 [:31)
82 Bill Bailey/page 216 [:56]
83 Hard and It's Hard/page 218 (:31)
84 Old Time Religion/page 219 [:31]
85 Bully of the Town/page 220 [1:06]
86 Bicentennial Breakdown/page 222 [2:01]
87 John Henry/page 226 [1:11]
88 londonderry Air/page 228 [l:21]
89 Under the Double Eagle/page 230 [1:42]
90 Outro [:33] 

Product Number: 93345BCD
Format: Book/CD Set
ISBN: 0786665211
UPC: 796279085458
ISBN13: 9780786665211
Series: Complete
Publisher: Publications, Inc.
Date Published: 11/4/2002

Contents:

Part One
About Part One
The Author
Left-Hand Position
Right-Hand Position and Fingering
The Picks
The Quickest Way to Learn
Music-Reading Section
The Rudiments of Music
Other Musical Signs and Terms
Tuning the Banjo
Reading Tablature
Time Values of Notes and Rests
Counting Time in Tablature
Counting Time
Playing Songs on the First, Second, and Fifth Strings
Playing a Song on the Second and Third Strings
Chord Background
The Chord Symbol
The Basic Chords
Down and Up Strumming
Pinching the Chords
Melody and Pinch Chords Together
Chromatics
Key Signatures
Counting Review
3-Finger Picking Section
Counting Bluegrass Style
The Basic Rolls
Forward Rolls
Backward Rolls
Thumb-Alternating Rolls
Combination Rolls Rolls on the D and D7 Chords
Daily Practice Patterns
Right-Hand Patterns
The Basic Banjo Picking Effects
Fills and Endings
The Capo
Solo Section
The Banjo and Its Parts

Part Two
Foreword
Chord Studies
Mixing the Major Chord Forms
The I, IV, and V Chords
The I, IV, V, I Progression
Other Movable Chord Forms
The Dominant Seventh Chord
The Diminished Seventh Chord
The Augmented Seventh Chord
Right-Hand Chord Background Patterns
Blues & Boogie Back-Up Section
Blues Rock Back-Up
5-String Boogie
Melodic Thirds and Sixths
Melodic Thirds and Sixths Mixed
Blues-Rock Chorus
"Melodic" or "Chromatic" Picking
Advanced Solo Song Section
Chord Diagrams for Solo Section
Circled Tab Numbers
The Choke
Chimes
Endings

HOT LICKS FOR BLUEGRASS BANJO, Trischka. TAB.

About Hot Licks For Bluegrass Banjo
By Tony Trischka. For Banjo Tab, with chord symbols. Blues, Jazz, Bluegrass. Sheet Music. 142 pages. OK63909
Tony Trischka. Over 650 bluegrass, blues and jazz licks in Scruggs, single-string and melodic style. Use licks to create solos and play back up and expand your musical understanding and knowledge of the fingerboard.

RAGTIME, BLUES, & JAZZ FOR BANJO. Sokolow. CASSETTA TAB.

Product Description:
If you are a banjo player whose enjoyment of music isn't limited to bluegrass and country, you'll find this collection of tunes fun and sometimes challenging. Contains ragtime, blues, old-time jazz, and bluegrass blues, G tuning. Banjo tab. **For five-string banjo.

Song Title: Composer/Source:
Abilene John D. Loudermilk, Lester Brown, Bob Gibson
Behind The Eight Ball Blues
Betty And Dupree
Bill Bailey Won't You Please Come Home Hughie Cannon
Brown's Ferry Blues
Bully Of The Town
Careless Love
Chilly Winds (Lonesome Road Blues)
Cleopha Scott Joplin
Down But Not Out Blues
Elite Syncopation Rag Scott Joplin
Five String Boogie Woogie
Frankie And Johnny
Gambling Blues
Leola Scott Joplin
Maple Leaf Rag Scott Joplin
Oh, Babe It Aint No Lie
Original Rags Scott Joplin
Ragtime Dance Scott Joplin
Railroad Bill
Rising Sun Blues
Smoky Mokes Abe Holzmann
Something Doing Scott Hayden & Scott Joplin
St. Louis Tickle Barney And Seymore (Faron Bennett)
Stagolee
Stealin', Stealin'
Sunflower Scott Hayden & Scott Joplin
Swipesy Cake Walk Arthur Marshall & S.J.
Take This Hammer
The Entertainer Scott Joplin
Two White Horses
White House Blues
Worried Man Blues
Yankee Land Max Hoffman

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

BLUEGRASS SONGBOOK. Peter Wernick. TABLATURE

Over 130 songs in several styles from old-time, traditional, and newgrass, top gospel, and novelty tunes. Includes Ballad Of Jed Clampett, Blue Ridge Mountain Blues, Daddy Sang Bass, Bury Me Beneath The Willow, and Knoxville Girl.

Bluegrass Songbook. (Melody/Lyrics/Chords). For voice and guitar (or banjo). Music Sales America. Bluegrass and Americana. Difficulty: easy-medium. Fake book (simplified 3 string guitar tablature). Vocal melody (simplified 3 string guitar tablature), lyrics, chord names, performance notes, introductory text and black & white photos. 128 pages. Oak Publications #OK63198. Published by Oak Publications (HL.14004665).
ISBN 0825601649. With vocal melody (simplified 3 string guitar tablature), lyrics, chord names, performance notes, introductory text and black & white photos. Bluegrass and Americana. 9x12 inches.
Over 130 songs in several styles--from old-time, traditional, and newgrass, top gospel, and novelty tunes. Includes Ballad Of Jed Clampett, Blue Ridge Mountain Blues, Daddy Sang Bass, Bury Me Beneath The Willow, and Knoxville Girl.

Ain't Gonna Work Tomorrow
All The Good Times Are Past And Gone
Amazing Grace
Angel Band
Ballad Of Jed Clampett
Banks Of The Ohio
(A) Beautiful Life
Before I Met You
Big Ball In Boston
Blue Ridge Mountain Blues
(The) Bluebirds Are Singing For Me
Bluegrass Express
Bound To Ride
Brand New Shoes
Bringing Mary Home
Bury Me Beneath The Willow
(The Children Are Crying And) Calling Your Name
Close By
Columbus Stockade Blues
Daddy Sang Bass
Dark Hollow
Darling Corey
Detroit City
Don't Let Your Deal Go Down
Don't Put Her Down, You Helped Put Her There
Don't This Road Look Rough And Rocky
Down In The Willow Garden
Down The Road
Eating Out Of Your Hand
Face Lost In The Crowd
Fair And Tender Ladies
Foggy Mountain Top
Footprints In The Snow
Fox On The Run
Free Born Man
Freight Train
Give Me Your Hand
Handsome Molly
He Will Set Your Fields On Fire
Heaven
Hello City Limits
Highway Of Regret
Hot Corn, Cold Corn
How Mountain Girls Can Love
I'm A Pilgrim
I Know You're Married But I Love You Still
I'm Using My Bible For A Roadmap
If I Lose
In The Pines
(It's A Long Way) To The Top Of The World
It's In My Mind To Ramble
Jesse James
John Hardy
John Henry
Katy Daley
Knoxville Girl
(The) Last Song
Late Last Night (Way Downtown)
(The) Legend Of The Rebel Soldier
Life Is Like A Mountain Railroad
Listening To The Rain
Little Bessie
Little Birdie
(The) Little Girl And The Dreadful Snake
Little Glass Of Wine
Little Joe
Little Maggie
Little White Church
(The) Lonesome River
Lonesome Road Blues
Long Black Veil
Long Journey Home (Two Dollar Bill)
Lord, I'm Coming Home
Love, Please Come Home
Making Plans
Man Of Constant Sorrow
Maple On The Hill
Matterhorn
Memories Of Mother And Dad
(The) Memory Of Your Smile
Midnight On The Stormy Deep
Milwaukee Here I Come
Mr. Engineer
Mountain Dew
My Better Years
My Dying Bed
New Freedom Bell
New River Train
Nine Pound Hammer
(The) Old Old House
Ole Slew Foot
On The Jericho Road
Out On The Ocean
Pallet On Your Floor
Paradise
Poor Ellen Smith
Precious Memories
Pretty Polly
Rabbit In The Log (Feast Here Tonight)
Rank Stranger
Roll In My Sweet Baby's Arms
Roll Muddy River
Roll On Buddy
Roving Gambler
Satisfied Mind
Short Life Of Trouble
Singing All Day And Dinner On The Ground
Sitting On Top Of The World
(She Left Me) Standing On The Mountain
Steppin' Stones
Stone Walls And Steel Bars
Sweet Little Miss Blue Eyes
Sweet Sunny South
Swing Low Sweet Chariot
Teardrops In My Eyes
Tennessee
Tennessee Stud
That's How I Can Count On You
Things In Life
Think Of What You've Done
This Is The Girl I Love
Tragic Romance
Two Little Boys
Victim To The Tomb
Wabash Cannonball
We Need A Whole Lot More Of Jesus
Wear A Red Rose
What Would You Give In Exchange For Your Soul
When The Golden Leaves Begin To Fall
Where The Soul Never Dies
White House Blues
Widow Maker
Wildwood Flower
Will The Circle Be Unbroken
With Care From Someone
Working On A Building
Worried Man Blues
Wreck Of The Old Ninety-seven
Y'all Come
You Go To Your Church (And I'll Go To Mine)