LIBRO CON CD

ART OF THE SHUFFLE FOR GUITAR. Inside the blues. Dave Rubin, Hal Leonard. SHEET MUSIC BOOK WITH CD & GUITAR TABLATURE.

LIBRO METODO DI MUSICA BLUES, CON CD.

SPARTITI PER CHITARRA CON :

ACCORDI, PENTAGRAMMA, TABLATURE.  

An exploration of shuffle, Boogie and Swing rhythms.

Inside the blues. E' proprio vero che l'incisivo accompagnamento ritmico della musica blues uscì dai tasti del pianoforte, e che la chitarra poi imitò soltanto? Questa edizione sulle varie forme ritmiche blues, approfondirà le radici delle vostre conoscenze fino ai torrenti sotterranei della regione del Delta, delle aride pianure rocciose del Texas, della polverosa Kansas City, delle foreste di New Orleans, dell'asfalto e delle pozzanghere di Chicago. CD. TABLATURE

Shuffle
1: A dance step of indefinite Southern African-American origin, perhaps dating from the eighteenth century, in which the feet are moved rhythmically across the floor without being lifted (as in a minstrel show-author).

2: A rhythm derived from the dance step. The term is onomatopoeic, "sh" describing its characteristic smoothness (and especially its sound when played on the snare drum). The alternation of long and short syllables (shuffle, shuffle) evokes its distinguishing rhythm, a subdivision of the beat into uneven triplets, which is more specific than the fundamental swing or boogie woogie rhythm only in that it is usually played legato and at a relaxed tempo.

The term "shuffle," as applied to a type of musical rhythm, appeared around 1917. One of the earliest published songs to use it in its title was "Riverboat Shuffle" by Hoagy Carmichael. Though the recorded version by comet legend Bix Beiderbecke and Wolverines (1924) is both hot and cool, the rhythm is pure 4/4 dixieland. In 1921 a musical revue called "Shuffle Along" was produced with music by Eubie Blake and Noble Sissle. It included, but was not restricted to, the shuffle dance step. However, like the multitude of tunes before the mid~thirties that alluded to a "shuffle," the rhythms on parade were in the style of ragtime, dixieland and the blues. A number of rhythmic strains, including one from the unlikeliest of sources, would need to coalesce to create the true shuffle pattern. To trace this development is to traverse the glorious history of the blues and jazz. From the breakdowns, stomps and hollers of the post~Civil War South to the swinging shuffles of Louis Jordan and Tbone Walker in the forties, the accent has been on the body language of rhythm. Boogie woogie music, with its walking and moving bass lines, undoubtedly provided the driving propulsion behind shuffle rhythms. Though associated almost exclusively with the piano and especially its great solo practitioners, it is generally agreed that guitarists laid the groundwork for this blues-based idiom. The anthropologist and writer, Zora Neale Hurston, described the entertainment in the late 1800s juke joints as thus: "One guitar was enough for a dance. To have two was considered excellent. Where two were playing, one man played the lead and the other seconded him. The first player was "picking" and the second was "framming," that is, playing chords while the lead carried the melody by dexterous finger-work. Sometimes a third player was added, and he played a tom-tom effect on the lower strings." As the century wore on, pianos took the place of guitars in the lumber, mining, railroad and turpentine camps. Though it is conjecture, the practicality of employing one musician versus two or three, plus the sheer increase in volume afforded by pianos in rowdy barrelhouses (as opposed to acoustic guitars), makes sense of this change. There is less ambivalence, though, about the music performed. Quite simply, patrons wanted to hear the same raucous, rolling rhythms, so piano players devised left-hand patterns analogous to rhythm guitar parts while embelli hino and oloing with the right.

Series: Guitar Educational
Softcover with CD - TABLATURE
Author: Dave Rubin

This method book explores shuffle, boogie and swing rhythms for guitar. Includes tab and notation, and covers Delta, country, Chicago, Kansas City, Texas, New Orleans, West Coast, and bebop blues. Also includes audio for demonstration of each style and to jam along with. 64 pages.

Traces the roots of Shuffle, boogie and swing rhythms from the late 1800s to the late 1940s. Delta, country, Chicago, Kansas City, Texas, New Orleans, West Coast, and Bebop Blues styles are explored in-depth with numerous music examples. The accompanying CD demostrates each example with a complete rhythm section, includes rare photos. 

10 ROCK & BLUES SOLOS FOR GUITAR. Ed Wennink. SHEET MUSIC BOOK WITH CD & GUITAR TABLATURE . 

LIBRO METODO, MANUALE DI MUSICA BLUES, CON CD. 

SPARTITI PER CHITARRA CON :

ACCORDI, PENTAGRAMMA, NOTE, TABLATURE. 

Book/CD Pack. By Ed Wennink. Play-along Book. Play Along. BOOK W/CD. With notes and tablature. Original songs to help students practice rock and blues techniques, including hammering, bends, slides and taps. The CD includes tuning notes, demonstration tracks and play-along tracks. The book also includes optional parts for rhythm guitar, bass and drums for use by a whole band. 72 pages

FIDDLE TUNES & IRISH MUSIC FOR MANDOLIN, D. Gelo. CD TABLATURE

LIBRO DI MUSICA FOLK PER MANDOLINO, CON CD.
SPARTITI CON ACCORDI, PENTAGRAMMA E TABLATURE.

Product Description:

A fun-to-play collection of 62 favorite fiddle and Irish tunes arranged in notation and tablature for mandolin solo. Ideal music for intermediate level technical study in sight reading. The CD is in split-track format, thus allowing the mandolin student to play along with the mandolin solo, lively guitar accompaniment, or both. Due to time constraints, the CD contains only 18 songs from the book.

Format: Book/CD Set

Contents:
INTRODUCTION

TECHNIQUE and ORNAMENTATION

The Left Hand
Left Hand Techniques
The Right Hand
Right Hand Technique

ACCOMPANIMENT
Types of Fiddle Tunes
Understanding Piddle Tunes
Combining Tunes
A Note on Key Signatures

The Rambling Pitchfork
Collier's Reel
Green Grow the Rushes-O
Jaybird
Mullingar Races
Weavin' Way
The Trip to Durrow
The Huntsman's Hornpipe
O'Donnell's Hornpipe
Ro in the BeauHardiman the Fiddler
Forked Deer
Bumper Squire Jones
College Hornpipe
The Mooncoin Jig
The Mooncoin Reel
St. Anne's Reel
Off She Goes
Brian Boru's March Nancy
Too Young to Marry
Thompson's Reel
Thompson's Jig Spotted Pony
The Skye Boat Song
Stirling Castle
Rabbit in the Pea Patch
The Star of County Down
Pigtown Fling
Hop High Ladies
Limerock
Tobin's Jig
The Banks of Red Roses
Old Mother Flanagan
Toss the Feathers #1
Toss the Feathers #2
Richmond
Jockey to the Fair
The Handsome Cabin Boy
Texas Quickstep
Texas Gales
Boys of Bluehill
Greenfields of America
Timour the Tartar
Tom Billy's Jig
Over the Waterfall
Moloney's Wife
Dusty Miller
The Lark in the Morning
The Blackthorn Stick
March of the King of Leix
Un Homme Marie
The Fisherman's Hornpipe
Boston Boy
Fox Hunter's Jig
Ladies on the Steamboat
The Newlywed's Reel
Drowsey Maggie
Byrne's Hornpipe
College Groves
Cowboy Waltz
Harvest Home

CHORD CHARTS
DISC OGRAPHY
INDEX

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

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