SPARTITI PER BANJO, MANDOLINO, DULCIMER, UKULELE, FIDDLE, FRETTED

BACK-UP BANJO, Janet Davis. 240 Pagine. SHEET MUSIC BOOK WITH 2 CD & TABLATURE.

LIBRO METODO DI MUSICA. 

SPARTITI PER BANJO : 

Back-up Banjo è un libro completo 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 .

BANJO ENCYCLOPEDIA, Bluegrass Banjo from A to Z, Nickerson. CD TABLATURE.

SHEET MUSIC BOOK WITH CD & BANJO TABLATURE. 

LIBRO DI MUSICA BLUEGRASS CON CD.  

SPARTITI PER BANJO CON:

ACCORDI, PENTAGRAMMA-TABLATURE. 

The Banjo Encyclopedia è uno strumento completo, istruttivo e profondo che scopre le complessità della musica blugrass per banjo, completissimo i numerosi argomenti che a volte erroneamente potrebbero essere tralasciati nell'insegnamento del banjo di oggi. The Banjo Encyclopedia può far arrivare gli studenti dal livello principianti al livello intermedio e verso i più avanzati stili del banjo. Ross Nickerson usa la sua plurenale esperienza di insegnamento a centinaia di aspiranti musicisti offrendo l'opportunità di imparare in maniera pratica e diretta. Questo libro di insegnamento per banjo di largo raggio mette a fuoco molte tecniche che aumenteranno ogni aspetto della musicalità di chi suona il banjo, mentre semplificherà molti aspetti del processo educativo. Il CD con 99 tracce incluso permetterà agli studenti di imparare facilmente ascoltando l'autore Ross Nicherson che interpreta ogni canzone, e esegue molti frasi banjo e licks nella variante lenta e con la velocità normale. Nel CD è inclusa la sezione delle canzoni avanzate, dove Ross viene accompaniato da un gruppo bluegrass completo e delle canzoni di

livello intermedio per studenti. The Banjo Encyclopedia è indubbiamente una delle più complete raccolte per il banjo a 5 corde sul mercato di oggi e un must per la raccolta di libri di ogni musicista che suona il banjo.

The Banjo Encyclopedia is a comprehensive, in-depth banjo instructional tool that covers the any intricacies of bluegrass banjo playing, including numerous topics that may have been overlooked in banjo instruction to date. The Banjo Encyclopedia can take a student from the beginning, to intermediate, and right through to more advanced styles of banjo playing. Ross Nickerson uses his many years of experience helping hundreds of aspiring banjo pickers by offering the banjo student an opportunity to learn in a practical, straightforward manner. This wide-ranging banjo instructional book will focus on many techniques that will help every aspect of a banjo player's musicianship while simplifying many subjects in the learning process. The included 99-track CD recording will enable the student to learn easily by hearing author Ross Nickerson demonstrate each song, and perform many of the banjo licks and phrases included in the book slow, and up to tempo. The CD also includes an advanced song section with a full bluegrass band accompanying Ross along with additional intermediate songs for the student to learn. The Banjo Encyclopedia is undoubtedly one of the most complete five-string banjo books on the market today and a must for every banjo player's collection.

Product Number: 99443BCD
Formato: Book/CD Set
ISBN: 0786670746
UPC: 796279094214
ISBN13: 9780786670741
Serie: Encyclopedia
Editore: Mel Bay Publications, Inc.
Date Published: 9/24/2003

Contenuto:

About the Author
Foreword by Ross Nickerson
Tips On Learning The Most From The Book
Chapter 1: The Basics
Holding the Banjo, Using the Picks
How to Read Tablature
Parts on a Standard Five-String Banjo
Tuning Your Banjo
Right-Hand Postioning
Overcoming diffitculties
Final tips on right-hand positioning
Left-Hand Positioning
Do's and don'ts for common problems with left-hand technique
Photos of left-hand positions
Final Note
Chapter 2: The Right Hand
Rhythm & Timing
Rhythm and timing exercises
Learning the Basic Rolls
More tips on rolls
Earl Scruggs' contribution
Examples of basic rolls
Timing Review
Using a metronome
Some suggestions about using a metronome
Timing exercises using a metronome
Advanced Rolls
Working with and learning some advanced rolls
Working with the thumb
Working with the index and middle fingers
Middle finger exercises
Index finger exercises
Exercising the index and middle fingers together
Developing Tone and Dynamics
Angle of attack
Balance of tone
More about positioning
The effect of picks on tone
Dynamics in your banjo playing
Dynamic examples
Developing Speed
Technique factors in speed building
Psychology of speed
What if I make a mistake?
How hard should I pick?
Should I use a metronome?
Always use a metronome?
Speed-building metronome?
Tone Exercises
Advanced Rolls for Practice
Final Note
Chapter 3: The Left-Hand
Overview
Finger Exercises
Several reminders for practicing the exercises in this chapter
Memorize
A reminder before you start the exercises
Left-Hand Exercises
Left-hand exercises using thirds
Exercises for learning the notes on the fretboard in the G scale
Learning tips
Ways to Improve Slides, Hammer-ons, Pull-offs, and Chokes
Tips and reminders on slides, pull-offs, chokes and hammer-ons
Improving slides
Improving hammer-ons
Improving pull-offs
Improving chokes or bends
Adding and Improving Slides, Hammer-ons, Pull-offs, and Chokes in a Song
Banks of the Ohio - basic version
Banks of the Ohio - with slurs (slides, pull-offs, etc.)
Bury Me Beneath the Willow - basic version
Bury Me Beneath the Willow - with slurs (slides, pull-offs, etc.)
Final Note
Chapter 4: Practice Habits and Practicing Priorities
Overview
Practice builds confidence
Practice priorities and making the best use of practice time
How often should I practice and for how long?
Your practice area
Setting goals
Lesson Plans
Practice outline
Practice outline example
Splitting up practice time in the lesson plan
Working on Physical Challenges and Overcoming Obstacles
Isolating areas of practice
Tablature Discussion
Using CD, Video or DVD
Memorizing
Suggestions for memorizing
Working on the left and right hand separately while memorizing
A few more general suggestions on memorizing
Final Note

Chapter 5: Earl Scruggs' Style
Overview
Learning the Basics of Scrugg's Style Picking
Accenting Notes
Accenting Exercise
Bringing out the Melody
Sitting on Top of the World
Blues in the Scruggs' Style
Nine Pound Hammer
Learning a Breakdown in Scruggs' Style
Banjo Students' Breakdown
Final Note
Chapter 6: The Melodic Style
Overview
Melodic Style Exercises
Learning Songs in the Melodic Style
Sailor's Hornpipe
Turkey in the Straw
John Hardy
Playing in Harmony in the Melodic Style
Devil's Dream - Lead part
Devil's Dream - Harmony part
Playing the Blues in the Melodic Style
Blues Scale Melodic Exercise
Final Note
Chapter 7: The Single-String Style
Overview
Exercises Using the Single-String Style
Learning Some Scales in the Single-String Style
Chord shape single-string exercises
Don Reno Style Exercise
The Darktown Stutters' Ball
Learning Songs in the Single-String Style
Wildwood Flower - basic single-string version
Wildwood Flower - more complex single-string version
Arkansas Traveler
Whiskey Before Breakfast
Chapter 8: Mixing the Scruggs', Melodic and Single-String Technique, Learning to Play
Up the Neck, and Learning More About the Blues
Overview
Mixing the Scruggs', Melodic and Single-String Styles
Banjo licks that serve a similar purpose in each style
A Song Mixing the Three Styles With Some Blues
The Scruggs, Melodic, Single String Blues
Playing Up the Neck
Licks serving the same purpose, up and down the neck
Learning Both Down and Up the Neck Versions of a Song, for Comparison
She'll Be Coming Around the Mountain - lower neck version
She'll Be Coming Around the Mountain - up the neck version
Bonus Song, Mixing the Styles
Oh, Susanna
Learning More About the Blues
Blues Scales
Making Common Banjo Licks "Bluesy"
Blues comparison licks
Learning the blues scale exercise
The Blues Scales Blues
Another Song Mixing the Styles
Whiskey Before Breakfast
Final Note
Chapter 9: Rhythm, Chords and Playing Backup
Overview
Learning Chords and More About Them
F form chords
D form chords
Barre form chords
More about chords
Chromatic scale for finding any chord
Chord Inversions for G, G7 and G Minor
Chord Inversions for D, D7 and D Minor
Chord Exercises - Blackberry Blossom
Chord Progressions for Practice
Augmented, Diminished and More on Seventh Chords
Augmented chords
Diminished chords
Learning More About Scruggs' Style Backup
Scruggs' style backup lick examples
Passing Tones
An exercise using bass run passing tones
Bass Run Passing Tone Exercises With Chords
Four Examples of Playing Backup
Backup example for verse and chorus
Song Example for Verse and Chorus Backup
Playing backup on a slower tempo song
Slow Backup Song Example
Backing up a fiddle
Fiddle Backup Example
Waltz backup
Waltz Backup Example
Using Seventh Chords
Seventh chord form chart
Seventh Chord Exercise
Final Note
Chapter 10: Improvising and Learning to Play by Ear
Overview
Improvising
Taking what you know and turning it into ten things
Improvising in small steps
Thinking in terms of playing by the chords
Improvising practice assignments
Sample Chord Progression Using a Specific Roll
Reverse Roll Chord Breakdown
Building Up Your Chord Changing and Locating Ability
Sliding into the Chord Exercises
Tip on changing chords
Recovering from mistakes
Knowledge of the neck
Notes on the fretboard chart
More on Improvising
Plugging in licks that work with the chord changes in the song, and other
Options
Comments on improvising
Improvising using chords
Writing your own arrangements and playing songs that you have never
Heard before
Learning to play without tablature
Cautions when improvising
Importance and joy of not using tab
Final Note
Chapter 11: Beginnings, Turnarounds and Endings
Overview
Beginnings
Common bluegrass song beginnings or "kickoffs"
Bluegrass Song Kickoff Example
Pig in a Pen
"Bluesy" Kickoff Example
Kickin' Blues
Turnarounds
Basic turnarounds
Endings
Some common endings to bluegrass songs
Final Tips on Beginnings, Turnarounds and Endings
Final Note
Chapter 12: Jamming
Overview
Priorities in Preparation for Jamming
Preparation and practice
Practice timing
Know you chords and how to back others up
Learn songs that others should know and standard bluegrass
Arrangements
Taking the scare out of it
Learning How Standard Bluegrass Arrangements Work
Typical bluegrass vocal arrangement
Popular Vocal and Instrumental Songs at Jam Sessions
Other Tips and Suggestions for Learning How to Jam with Others
No One is Perfect and Everyone Makes mistakes
Final Note
Chapter 13: Adapting an Easy Melody to a Bluegrass Banjo Arrangement
Overview
Music Reading Basics Made Easy
Learning the notes
Counting time
Rests
Creating a Bluegrass Banjo Arrangement Using Quarter and Eighth Notes
When the Saints Go Marching In
Red River Valley
Final Note
Chapter 14: Playing in Different Keys, Tunings and Using a Capo
Overview
Using a Capo
Types of capos and tips on using them
Capoing the fifth string
Playing Chords in Different Keys
The I - VII chords in seven different keys - chart
Playing a song using roman numerals rather than chord names
Chord Progression Practice
Learning to Play the Same Song in Three Different Keys
Don't This Road Look Rough and Rocky - Key of G
Don't This Road Look Rough and Rocky - Key of C
Don't This Road Look Rough and Rocky - Key of D
C Tuning
Wildwood Flower
D Tuning
Home Sweet Home
Jesse James
G Minor Tuning
Pretty Polly
Chapter 15: Playing at Slower Tempos and ¾ Time
Overview
Different Techniques Used in Playing Slower Songs
Learning Some Songs in ¾ Time
Some suggestions for learning the songs
Silent Night
Amazing Grace
The Streets of Laredo
Chapter 16: Banjo Maintenance by Mike Munford
Introduction by Ross Nickerson
Preface by Mike Munford
Bridges
Bridges and tone
Tuning, intonation and setting the bridge
Changing the Strings
More on Strings
Tailpieces
The Nut
The 5th string nut
5th String Spikes
Actual spike location
The head
Action Adjustments
Neck and Resonator Woods
Good Tools
General Maintenance Tips
Cases
Final Note
Chapter 17: Advanced Song Section
Overview
John Henry
Train 45
Glossary of Common Banjo Terms
Acknowledgements
Closing Comments and Credits
CD Track Sheet

5 STRING BANJO NATURAL STYLE. CD TABLATURE

No Preservatives
Series: Banjo
Publisher: Centerstream Publications
Softcover with CD - TAB
Composer: Ron Middlebrook
Now available with a helpful play-along CD, this great songbook for 5-string banjo pickers features 10 easy, 10 intermediate and 10 difficult arrangements of the most popular bluegrass banjo songs. This book/CD pack comes complete with a chord chart and includes tablature. 40 pages

AN INTRODUCTION TO JAZZ IMPROVISATION FOR THE 5 STRING BANJO, VOL. I, David Crisler. CD TABLATURE

LIBRO FUORI CATALOGO, 

acutab

(book & audio CD)

David Crisler has put together an extremely useful instruction manual for pickers who want to explore jazz structure and harmony on the 5-string banjo. The 54 page book starts with an in-depth discussion and presentation of the major scales, including many useful practice patterns. This progresses to a study of the 4-note chords derived from these scales, with many inversions presented along with more patterns.

We finish up with a look at modes and the famous II-V chord progression. David then pulls it all together in a romp through the swing classic, "All Of Me," in which we look first at the chords and then at how to build a jazz solo from the scales which correspond to each chord. Finally, he presents his own solo for you to learn/study.
All of the scales, exercises, tunes, and licks are presented in tablature and a companion audio CD is included. This is a terrific book, the first in what will be a series of invaluable aids as non-bluegrass style banjo wins more and more practitioners. We can't guarantee that it will turn you into the next Bela Fleck, but we can promise that this book will open your eyes (and your ears!) to the possibility of playing serious jazz on the banjo.

2000 DULCIMER. CD. TAB.